Can You Follow/Escape To The Royal Wood (On Ice)/You Burned The Tables On Me/There's A Forest/Morning Story/Folk Song/Smiles & Grins/Post War/A Letter Of Thanks/Victoria Sage/The Consul At Sunset
Harmony Row was the follow up solo album from the former Cream bassist Jack Bruce. Unlike fellow member Eric Clapton his album releases would fail to achieve any significant chart success.
“Bruce has crafted that extremely rare item, a jazz-rock fusion album that's not only accessible, but indispensable. Unlike works that require the listener to invest countless hours in the hope of one day having their weary mind bludgeoned into enlightenment as regards some supposed genius on the part of the artist, Harmony Row will find its converts quickly and decisively.”
“The album is both intricate and fragile, yet rock-solid. Using both music and lyrics to reach the listener's emotional core with flashes of intense, dizzying imagery. Harmony Row finds a virtuoso musician at the pinnacle of his powers. It is the musical equivalent of the gifted child.”
“Scattered along the album the germs of his talent and his fertile imagination give birth to gems as diverse as the spellbinding tranquil beauty of Folk Song, to short solo piano pieces as the both delicate and dramatic Can You Follow that sets things rolling with a sudden burst of voice and piano, or the soothing interlude with quasiavant- garde harmonic complexity yet unfailing beauty of There’s A Forest.”
“I was surprised to find that this album by Jack Bruce is better than anything Clapton ever wrote after Cream. It is a masterpiece. Jack's vocals are outstanding. His bass guitar is insane and is heard constantly throughout the album. The album is also very heavy in piano - which Jack plays beautifully. His guitar and drum players are also quite good. Jack also uses the same lyricist he used in Cream - Pete Brown - so expect some awesome word-work.”
“His musicianship as a bass player, acoustic guitarist, keyboardist, and cellist are highlighted here and are a testament of his skills as a unique artist of uncanny talents. Of course, adding to his ability as a composer-musician are Bruce's fiery and spirited vocals, which at that time were at the apex of all rock vocalists. During the early 1970s, when most British rock players were entrenched in heavy blues-boogie structures, Bruce went against the grain to present a poetic style of jazz and art rock, augmented with other-worldly piano and acoustic ballads.”
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