Strawbs’ ‘Bursting at the Seams’ explores the fusion of poetry and pop
In October 1972, lead vocalist and primary songwriter Dave Cousins assembled a fresh ensemble of his band known as Strawbs at Sound Techniques in Chelsea, London, for the purpose of recording their fifth studio album. Essentially, Lotusland was formed when Tony Hooper, one of his longstanding music collaborators, decided to leave the band due to their shift towards a more progressive rock aesthetic that did not align with his musical preferences.
Derek John “Blue” Weaver, a highly esteemed musician, had taken the place of Rick Wakeman, Strawbs’ keyboard virtuoso, who had joined the progressive rock band Yes for their preceding album called Grave New World. As the pioneering British band signed to the American record label A&M, Weaver proved to be a seamless addition to the group, blending in effectively with the existing members – drummer Richard Hudson and bassist John Ford, both of whom transitioned from the blues-rock group Elmer Gantry’s Velvet Opera to join Cousins in 1970.
To fill the gap left by Hooper’s departure, Cousins looked towards Dave Lambert, a flamboyant electric guitarist from the King Earl Boogie Band, for an energetic replacement. Speaking to journalist Jerry Gilbert in 1974, Cousins emphasized his longstanding rapport with Lambert, noting, “I’d known Dave for five years before he joined the band – he taught me to play the electric guitar and I’d shown him a few things on acoustic guitar, and we’d gone out and done folk club gigs, and then he started to come on stage with the band, and he played on my album Two Weeks Last Summer. It seemed to be a totally natural progression.”
In contrast to their previous collaboration with renowned producer Tony Visconti, Cousins stepped into the role of producer for the new album, assisted by Tom Allom as the engineer. The recording sessions were marked by an arduous 300 hours of recording time, characterized by frequent disagreements and occasional retreats to the studio’s bars during tense moments, exacerbated by the scarcity of content, which necessitated impromptu arrangement developments.
After concluding their work at Sound Techniques, the finishing touches were polished at the Manor in Oxfordshire and London’s Morgan Studios, culminating in the release of their LP on January 26, 1973. Their breakthrough single “Lay Down,” penned by Cousins, soared to the 12th position on the UK charts, propelling Strawbs into the national spotlight through an appearance on the hit television show Top of the Pops, setting the stage for their subsequent single “Part of the Union,” which narrowly missed claiming the top spot, falling short only to the Sweet’s “Blockbuster.”
In keeping with the prevailing trends embraced by their fellow chart-toppers Slade, Wizzard, and T. Rex, Strawbs adopted glam-inspired fashion choices and theatrical stage makeup, introducing a touch of cheeky extravagance to their performances. Reflecting on their stylistic evolution, Cousins defended their sartorial choices against accusations of pandering to commercial pressures, asserting, “We always used to dress up quite brightly even in the folk club days… On reflection, it’s something useful to do.”
Bursting at the Seams, Strawbs’ seminal work, opens with the intricate arrangement of “Flying,” characterized by ethereal guitar harmonics transitioning into a captivating blend of folk-rock elements, featuring Cousins’ evocative vocals complemented by Weaver’s organ work and a heavenly choir. The track evolves into a mesmerizing instrumental interlude, weaving together an eclectic tapestry of electric banjo, mellotron, and Lambert’s spirited guitar work, drawing inspiration from the melodic stylings of the Byrds. The album’s poetic lyricism and lyrical depth, evident in lines like “And just as in the willow pattern fantasy/The boy and girl have crossed the bridge of tears,” underscore Cousins’ penchant for romantic storytelling and lyrical embellishment, a trait he sought to balance with more straightforward and poignant lyricism over time.
Highlighted by standout tracks such as “Lady Fuschia” and “Stormy Down,” meticulously crafted with a diverse array of guitar textures and intricate harmonies, Bursting at the Seams showcases Strawbs’ artistic evolution and compositional depth, anchoring a pivotal moment in the band’s musical journey and reaffirming their place within the pantheon of progressive rock innovators.