Reviews of 'Gypsy Girl: Archives ... Volume 1'

Cover of Gypsy Girl Volume 1

Marianne Segal (2010)

A powerful, emotive voice and strong songs ... This album is testament to Marianne's talent

Rumbles, Terrascope.co.uk, August 2010

We realise at once what a loss she has been (in the past) to the music industry... through all (the songs) her talents shine through

Jon Miller, album liner notes, 2009

Buyers' comments

Some comments from people who have bought Gypsy Girl: Archives ... Volume 1:

"It's winter's music, for grown up people in need of peace. Very emotional and touching. I will use it for my moments of doubt."
Customer from France

"... love the CD and I love your beautiful voice and music."
Customer from USA

"The CD has been playing in my car since arrival, and we really enjoy your moving songs!"
Customer from Norway

Album liner notes, Jon Miller, 2009

I was introduced to Marianne in 1968 by Sandy Glennon who was booking her gigs in folk clubs as a duo with Dave Waite. I was immediately struck by the beauty of her voice; the clear unadulterated yet expressive tone. She was playing folk clubs, she explained, because that was the only way she could get up on stage and sing, and although her roots were in folk music, her aspirations were broader.

In 1970 I recorded the album Fly on Strangewings with her and Dave and Rod Edwards under the name Jade. The album featured some of the top rock musicians and was essentially in the 'folk rock' genre. That recording displayed the breath of her talent not only as a singer but also as a burgeoning songwriter of melodic and deeply moving songs from her personal experience.

Her talent was immediately appreciated with Melody Maker calling her songs, "strange and beautiful" and the album was seen as a "magical fusion of folk rock and pastoral arrangements". She was stunning on stage and the camera loved her, as a series of appearances on the Rod McKuen Show confirmed.

Engagements at The Bitter End in New York and The Troubadour in Los Angeles should have launched her career but it was not to be and by the end of 1972 Jade had disbanded and Marianne and I went our separate ways.

Almost 30 years later, Fly on Strangewings had achieved cult status and Mojo magazine had identified it as one of the top ten folk-rock albums.

Of course, although she was out of the public eye during the late 70s and 80s and unable to secure a recording contract Marianne had continued writing and recording, when she could beg or steal studio time. This collection of songs represents the first release of some of the songs Marianne had written in the intermediary period and we realise at once what a loss she has been to the music industry.

What is astonishing is that her voice has lost none of its power and appeal and it is impossible to say, from the vocal quality, which songs were recorded in the early 70s or the late 80s. Her song-writing is varied, from the tongue in cheek, light hearted Pepe, with delicate acoustic guitar, played by Marianne and sympathetic keyboard arrangement by Ian Catt, to the folky River and Stream, with wonderfully melodic and eerily atmospheric electric guitar by Graeme Taylor. There are several beautiful ballads, among my favourites are On Distant Shore and Gypsy Girl. Another stand-out track is the exciting, rhythmical, Shan't Dance, featuring Marianne on guitar and synthesiser. The vocal performances throughout are superb.

On these recordings, Marianne has had the benefit of talented musicians, engineers and producers and they have all 'coloured in' her songs but through them all, it is her talent that shines through. I can't wait for volume 2.

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