John Lees´Barclay James Harvest-Relativity (2025)

In 1998, Barclay James Harvest's two main songwriters, Les Holroyd and John Lees, agreed to go their separate ways, although they continued working under the original band name. This led to the creation of two different formations: Barclay James Harvest Featuring Les Holroyd, which maintained the AOR style of their later work; and John Lees' Barclay James Harvest, more oriented towards the progressive sound of the 1970s. Of the two, the latter has been the more active in terms of recording, releasing four albums since their 1999 debut, "Nexus". Over the years, other albums followed, such as "Festivale" in 2002, "North" in 2013, and "Relativity", released in 2025. Focusing on this last album, John Lees is accompanied by keyboardist Jez Smith, guitarist, bassist, and keyboardist Craig Fletcher, and percussionist Kevin Whitehead. Here, they focus on creating seductive melodies over a tight instrumental foundation and engaging vocals that convey emotion and intensity. The length of most of the songs is striking, exceeding six minutes in almost all of them. Epic pieces like the opening track, "Relativity Part 1", present introspective and somber music under John Lees' velvety vocal harmonies. Likewise, the orchestrated "The Blood of Abraham", the serene "Heard It All Before", and the bucolic "Magpie" are all praiseworthy songs. Other songs, such as the orchestrated "Hourglass", the energetic "Snake Oil" with its classic rock accent and enveloping vocal harmonies, the accessible "The End of Days" with gospel choirs and jazzy instrumentation, and the splendid "Picture World", are the prelude to one of the album's high points: the fascinating "Relativity Part 2", an outstanding piece of pinpoint precision with intense progressive rock sensations. With this album, and at this stage of their career, after more than fifty-five years, this legendary band no longer cares what their detractors think; they are on another level, regardless of what others say.

Barclay James Harvest-XII (1978)

Barclay James Harvest's ninth album was the last to feature their main keyboardist and one of the band's founders, Wolly Wolstenholme, who left due to musical differences with the rest of the lineup. It was also the last album on which they used the Mellotron, replacing it thereafter with more cutting-edge synthesizers. While "XII" is a more harmonious and balanced album than its predecessor, "Gone To Earth", it lacks tracks as popular and catchy as "Hymn", "Love Is Like A Violin", "Poor Man's Moody Blues", and "Sea Of Tranquility", which appeared on the previous release. The most emotional moment is undoubtedly the song "Berlin", a clear ode to the German city divided at that time by the Berlin Wall, a tremendous success in Germany and the rest of Europe. On the other hand, the solid rock of "Fantasy: Loving Is Easy" becomes the only counterpoint to an album full of beautiful soft rock melodies such as "Classics: A Tale of Two Sixties", "Turning In Circles" or "Sip Of Wine", while the progressive vein appears in the majestic "Science Fiction: Nova Lepidoptera" and "In Search Of England", to end with the pleasant "Fiction: The Streets Of San Francisco", inspired by the famous American police series of the 70s. As in all the previous records, this would once again flood the charts in Germany and central and northern Europe, places where the band gathered a very large legion of fans.

Barclay James Harvest-Once Again (1971)

"Once Again" is one of the classic symphonic rock albums of the 70s, possessing the unique appeal and fascination of that era. Unfairly condemned by the British press as mere Moody Blues clones, this unfortunate and arbitrary assertion would weigh them down during their early years. However, it must be acknowledged that in certain musical structures they vaguely recall the aforementioned Moody Blues, primarily due to the extensive use of the Mellotron in these early years by their keyboardist, Stuart "Wooly" Wolstenholme. Surrounded by progressive pieces with melancholic and poignant traits like "Galadriel" and "Mockinbird", there are others with a clear character of emotive British folk, such as "Vanessa Simmons," or vigorous rock songs like the opening track "She Said" and "Ball and Chain". Meanwhile, the thematic "Happy Old World" and the orchestrated "Lady Loves" undoubtedly hint at certain influences of the aforementioned Moody Blues. Ultimately, with this second album, Barclay James Harvest succeeded in creating a progressive album of simple compositions, adorned with brilliant arrangements, definitively establishing their peculiar and essential sound, which would become the hallmark of the British group in the following years.

Barclay James Harvest-Turn Of The Tide (1981)

Despite the refinement of a pleasant and melodic rock/pop sound with progressive tendencies, Barclay James Harvest's ninth album is far removed from the symphonic/progressive path they had forged in their previous releases. "Turn of the Tide" became their second album without original keyboardist Woolly Wolstenholme, who had left the band precisely because of its more mainstream direction, something that would become particularly evident in the works he didn't participate in. To replace him, the rest of the lineup (John Lees, Les Holroyd, and Mel Pritchard) had hired keyboardists Kevin McAlea and Colin Browne, two musicians who, despite not possessing Wolstenholme's instrumental prowess, fulfilled their roles professionally. "Turn of the Tide" unfolds through a series of welcoming and warm soft rock compositions that are easy to listen to, where the bright treble, so typical of early digital recordings, is more than evident. Tracks like the rock songs "Highway for Fools" and "Death of a City", despite their quality, lack the enthusiasm of yesteryear. Others, like the emotive "How Do You Feel Now?" and "In Memory of the Martyrs", or the pleasant soft-rock tracks "Back to the Wall", "Echoes and Shadows", or "I'm Like a Train", show, despite everything mentioned above, a quality musicality full of melancholic vocal performances and sophisticated, tasteful instrumentation.

Barclay James Harvest-Baby James Harvest (1972)

Underestimated by many of their more orthodox fans for veering towards predictable influences and abandoning their own sound, the fourth album by the British band Barclay James Harvest was the last released under the progressive Harvest label. Comprising six tracks, it is undoubtedly the most accessible of the four released up to that point, showcasing the influences that the British press would regularly criticize. The songs inspired by the ingenious melodies of The Moody Blues, such as "Delph Town Morn" and "One Hundred Thousand Smiles Out", somewhat overshadow the rest of a repertoire that includes commendable pieces like the rocking "Thank You", the epic progressive "Summer Soldier", and the orchestrated "Moonwater". With this album, Barclay James Harvest marked the end of their first era, putting an end to their orchestral and symphonic experiments to focus on more conventional and musically accessible productions for a wider audience, achieving considerable commercial success.

Barclay James Harvest-Ring Of Changes (1983)

Released amidst the synth-pop and new wave craze, Barclay James Harvest gave us their twelfth studio album, "Ring of Changes". Now a trio after Stuart "Woolly" Wolstenholme's departure several years prior, John Lees, Les Holroyd, and Mel Pritchard, with valuable contributions from Kevin McAlea and Bias Boshell on keyboards, continue the stylistic vein of their previous album, "Turn of the Tide", released in 1981. This album features a subtle shift towards folk and acoustic sounds, including a symphonic orchestra on some tracks. Despite being considered a minor album in the British group's discography, "Ring of Changes" still boasts moments of brilliance such as "Looking from the Outside", "High Wire", and "Paraíso dos Cavalos", where BJH's melodic approach, their main strength, remains intact, and a solid, albeit somewhat understated, instrumental and symphonic foundation is still present. Other tracks, like "Fifties Child", perhaps suffer from being a watered-down copy of the iconic "Hymn". On the other hand, "Midnight Drug" retains a freshness and dynamism that at times dangerously approaches the new wave sounds of the era. However, although this album doesn't reach the creativity of the group's previous work, it still has enough merit to be considered one of their magnificent albums of the 80s.

Barclay James Harvest-Octoberon (1976)

"Octoberon" meant the seventh Barclay James Harvest album released in 1976, an album where the band perfectly balanced their more progressive side with their soft pop sounds.
From the progressives "The World Goes On", "Ra", "May Day" or "Suicide" to the more accessible "Believe In Me", "Rock´n ´Roll Star" or "Polk Street Rag", they complemented one of their finest and most beautiful albums, starting with a beautiful and suggestive cover.

Barclay James Harvest-Berlin-A Concert For The People (1982)

On August 30, 1980 the Barclay James Harvest gave a free concert in the city of Berlin, in front of the Reichstag and very close to the Berlin wall.
At that time the band was presenting their work "Turn Of The Tide" and it must be remembered that in Germany they were as popular or more than other great bands such as Yes, Genesis or ELP.
For many, this concert had some political connotations, such as the reception by the city authorities and the beginning with the emblematic theme "Berlin".
As an anecdote, this concert, which would be practically ten years before the fall of the Berlin Wall, part of the speakers were conscientiously turned upside down, so that people behind the wall could also listen to the concert. That part of the city was East Germany, which was behind the wall, but its confinement was eternal, or so it was intended.
By this time the band had already been reduced to a trio (Holroyd-Lees-Pritchard), and were supported by Kevin McLea and Colin Browne both on keyboards and other instruments.
The concert was quite a show with a band sounding perfectly blended and with an overwhelming sound.
With a magnificent repertoire of songs featuring the precious "Living Is Easy", the nostalgic "Mockingbird", the epic "Hymn" or the thrilling "Children of the Universe".
That memorable afternoon before more than 250 thousand people, the Barclay James Harvest, entered the history of Berlin through the front door.

Barclay James Harvest-Eyes Of The Universe (1979)

After publishing eleven great albums, Barclay James Harvest had its first great setback, the departure of its little keyboard and one of its founders Wooly Wolstenholme, this made it seem that the group's career would decline, mainly due to the importance and contribution of this group. to your music.
However, with the keyboard player's departure, the results did not decline but even improved in general surprise.
The first album without Wolstenholme is "Eyes Of The Universe", published in 1979, which would ultimately be the last great album of the band, at the same time as the most commercial, but without this adjective carrying the connotations of lack of quality.
The synthesizers are updated and become authentic protagonists of the melody.
The guitars sound more direct and spectacular than in previous records, developing solo sensations as well as addictive riffs.
Such melodies reach their creative peak and flow magically through a series of songs, among which the intense "Love On The Line" or "Alright Down Get Boogie", the powerful "Sperratus" and "Capricorn" and the wonderful and old "Rock & Roll Lady" with that great classic flavor that soon makes it one of the classics of the band, undoubtedly an album with a name: masterpiece.

Barclay James Harvest-Gone To Earth (1977)

Amidst the punk and new wave sounds that were beginning to flood the music world in the late seventies sounds that would last about as long as a lollipop outside a school, especially the former many artists and groups still emerged, softening and bringing a touch of sanity to rock music with albums that exuded class and quality. One of these bands was Barclay James Harvest, who in 1977 released one of the most beautiful albums of the latter part of that decade. 

However, in this album, "Gone To Earth", their seventh studio album, a stylistic shift towards more commercial territory was already evident, albeit subtly, without losing an iota of their progressive essence, even incorporating folk-like sounds. From its iconic cover, one of the most beautiful of that decade, the band perfectly reflected the atmospheric music, with its dazzling progressions, that lay within. An album containing one of BJH's most emblematic tracks, "Hymn," a beautiful song against the dangers of drug use, sublimely performed by the entire band, but with John Lees' twelve-string guitar and irresistible vocals standing out. In a similar melodic vein is the atmospheric "Taking Me Higher", while "Friend Of Mine" leaves us with a country-rock aftertaste reminiscent of The Eagles. The beautiful, ethereal melody of "Love Is Like A Violin" gives way to the serene and cosmic "Sea Of Tranquility", the solid and melodic rock of "Hard Hearted Woman", the enchanting melody of "Spirit On The Water", and the progressive rock of "Leper's Song". 

While "Poor's Moody Blues," inspired by the Moody Blues' famous song "Nights in White Satin", was a resounding response to the constant criticism from British critics comparing it to a poor imitation of the Moody Blues, John Lees stripped the original song down to its basic chords and, while maintaining the structure, reconstructed a different version, which became one of his biggest hits. 

"Gone to Earth" achieved sales exceeding one million copies worldwide and simultaneously holds one of the top spots on the German charts for the longest-running albums, spending 197 consecutive weeks on the charts. It is also considered one of the hidden gems of progressive pop-rock and is revered by European progheads.

Barclay James Harvest-Barclay James Harvest (1970)

The first album by Barclay James Harvest labeled the band in the purest tradition of the progressive of the late 60s and early 70s.

Wrongly referred to the footnotes of rock history, considering them a copy of The Moody Blues by the British press, they were active for more than a quarter century with a practically intact formation and achieving success in many European countries such as Germany where they are revered.

Their debut album published in 1970, manages to integrate classical sounds much better than other bands of the same time, with great orchestral arrangements full of details, with a wise mix of folk, classical and art rock music, baroque keyboards and Mellotron accompaniments, and they even dare to experiment well demonstrated in subjects like the dense "Dark Now my Sky".