This has to be one of the most gorgeous instrumental albums of all time. Obviously based on the book by Henry Williamson, this is a collaboration between Anthony Phillips and Henry's son, Harry. It's mainly orchestral apart from acoustic guitars and some keyboards and it captures the mood of the book and the film perfectly (although it wasn't actually used in the film). It's hard to believe that music as good as this remained in the vaults for ten years until rescued thanks to Susan George. It's very relaxing music, the sort you can put on in the background and chill out to, although this is not to say it is background "lift music" - it also bears up to concentrated listening. Just listen to the short "Postlude" track, remember the end of the book and feel those goosebumps! Progarchives.com
This artist was perhaps the most significant pioneer of the city-styled, horn-oriented blues harp – a style brought to perfection by Little Walter. Williamson adapted the country-styled, chordal-rhythmic technique that he learned from Noah Lewis and Hammie Nixon to suit the demands of the evolving urban blues styles. These 42 tracks include Sonny Boy's records and sport an imposing list of sidemen: Robert Nighthawk, Big Joe Williams, Henry Townsend, Walter Davis, Yank Rachell, Big Bill Broonzy, and Speckled Red. This is a definitive collection.