Keith Chris tmas is more remembered for his name than his work, which, as a new compilation 'Timeless and Strange' (Castle) reveals, was rich and earnest.

He started out a basic guitar wielding singer/songwriter, gravitated into a lyrical kind of folk-rock and by the time of the third album represented here, Pigmy (1971), was fronting elaborate Robert Kirby arrangements complete with a choir and the baroque keyboard adornment of Rod Argent.

His high and precise voice might remind you a little of Justin Hayward, its seriousness and the direct, contemporary slant of his lyrics may help explain why his standing hasn't developed down the years and - one could argue - help to make this music neither timeless nor strange, but still well worth investigating if you're a fan of Roy Harper, Ian Matthews, that kind of thing.

The most essential period for Keith's creativity is around the second album ('Fable of Wings'-1970) and third album ('Pigmy'-1971). From both albums are listed all tracks except one. Instead is added an unreleased acoustic version of ' I know you can't loose ', and another track from the first album, mislabeled as coming from the second album. I can't tell if it's a shame about the two left out tracks, but still I would have preferred the 'two-albums-on one' concept.

From the third track on, ' Waiting for the wind to Rise ' the compilation really sounds great to me. Just listen to the acoustic fingerpicking ballads like ' The Fawn ', or to all the fine arrangements of songs with acoustic guitar and a pop-rock band with organ on ' Lorri ', ' Kent Lullaby ', ' Hamlin '. ' Fable of Wings ' has a fine blues acoustic guitar lead.

The tracks from 'Pigmy' havet different, more worked out instrument arrangements. The slightly mellow ' Travelling Down ' has an orchestral arrangement. The sweetly sung ' Timeless & Strange ' leaves the guitar and voice leading with additional harpsichord and some second guitar. Another orchestrated guitar song track, with violin improvisation, ' Evensong ', in minor chords is another favourite. Also the romantic ' Poem ' is arranged in a similar way. ' The Waiting Grounds ' is a 70's rock track with the earlier mentioned band.

Both last tracks are more ambitiously arranged. ' Song for a survival ' has various rock arrangements (backing choir vocals, great jazzy and freaky 70's rock, some brass improvisations) stretching the song over 9 minutes. Last track, ' Forest and the shore ' has not only an accompanying rock band arrangement, but even a complete backing choir, mellotron, organ, and more improvisational singing.

What great albums these were ! A fine and recommended release for those who like the 70's sound of original pop-folk singer-songwriting.

Gerald Van Waes

'Greatest hits' of the early '70s folk/rock singer/ songwriter/ guitarist but don't wince because this really does time travel well

Fine songs, excellent singing and playing, well constructed arrangements. Includes Fable of the Wings which Martin Carthy covered, and lovely backing vocals from the elusive Shelagh McDonald

Forgotten folkie who could have been a contender.

Discovered on London's folk-cellar circuit by Steeleye Span's manager, Sandy Robertson, Essex-born Christmas contributed dextrous acoustic guitar to Bowie's Space Oddity album.

This nicely packaged, first time on CD snapshot of the three solo records he released between 1969 and 1972 is long overdue.

While the 15 tracks ably showcase his ornate lyrics, flawless picking and spooked-sounding voice, as a songwriter he falls some way short of John Martyn or Nick Drake. Immerse yourself in the stately company of I Know You Can't Lose, however, and Christmas's strange, timeless and, above all, subtle charms become apparent.

James McNair

Along with Steffen Basho-Junghans and Harris Newman, Christmas gave us last year's finest acoustic instrumental solo album (the aptly titled, Acoustica), and with his star on the rise again, the time seemed right for him to go through his back catalogue and select some early material to be remastered and reshared with his ever-increasing fanbase.

Despite the assistance of backing band, Mighty Baby, Christmas virtually disowns his 'horribly recorded' debut, Stimulus (RCA, 1969) (only a contemporary live rendition of 'I Know You Can't Lose' and 'Metropolis' make it onto the anthology - and the latter is mislabeled as being excavated from his second album!), so the majority of this package is dedicated to that second and third albums, Fable Of The Wings and Pigmy, presented in their entirety minus one song from each. The former is the stronger of the two and is one of the lost gems of British singer/songwriter psychedelia. Graced with a fluid, finger-picking style and a relaxing, lilting voice (I'm often reminded of Roy Harper doing an album of Nick Drake covers), Christmas has that rambling, earthy Harper-esque approach to songwriting that crams a lot of detail into his songs, making each one sound like a self-contained short story.

Fable... features a tight rhythm section, including the melodic, walking basslines of Pat Donaldson and the busy, yet intricate fills of Gerry Conway, all complimented by the omnipresent ivory tickling of Keith Tippett, who could make angels break out their red (dancing) shoes and head for the nearest pin head. Highlights abound, but I'd like to call particular attention to the swelling storm that ends 'Waiting For The Wind To Rise,' the middle jam on 'Lorri,' which deserved to be screaming every night from the Fillmore stages back in 1970, and the extended coda to 'Hamlin.' Those who enjoyed last year's Acoustica will find some of the roots of Christmas' finger-picking skills in the title track, which I'd love to hear arranged for (and played on) sitar. As majestic as anything on the Incredible String Band's 5,000 Spirits, or The Layers of The Onion! Suggestions to Fit & Limo and/or Craig (Lamp of the Universe) Williamson: learn this song immediately for your next album.

Occasionally, an Al Stewart bedsitting vibe wanders through the room; at other times Help Yourself comparisons avail themselves. Some of Christmas' solos also wouldn't be out of place on a CSNY album (check out 'The Fawn, complete with the soaring soprano of Shelagh McDonald), and on more than one occasion I found myself reaching for Rod Goodway's J.P. Sunshine album (perhaps fitting that Christmas would spend some time in the Rustic one's Magic Muscle outfit alongside bassist Ade Shaw (Hawkwind, The Bevis Frond), who appears here on one of the Pigmy tracks.

Pigmy opens with the gorgeous, heartmelting, string-driven 'Travelling Down,' its melody eerily similar to Donovan's 'Widow with Shawl' and reveals itself to be a lighter album, with Christmas' vocals sounding clearer and less breathy, as on the song which gives this anthology its title. Moving away from the earthy, bottom-heavy, cotton-mouthed, warm and fuzzy vibe of Fable..., the focus shifts to the lyrics and the stories and Christmas' vocals, which have lost some of their raspy, gruff demeanor. Strings (arranged by Robert Kirby, fresh from Drake's Bryter Layter) also play a more prominent role and the songs are more personal, such as the short, tragic love song, 'Poem.' But 'Song for A Survivor' is clearly the highlight here, with its extended sax-led jam courtesy Ray Warleigh (also a Bryter Layter sessioner). It dips its toe to test the cold, prog-y waters, but successfully cowers back before falling in and succumbing to prog's unhealthy excesses.

In sum, the year is young, but this is an early candidate for Reissue of the Year.