Madden & Harris* ‎– Fools Paradise

Akarma ‎– AK 315
Vinyl, LP, Reissue


A1 Wishes
A2 Fools Paradise Part 2
A3 The Wind At Eve
A4 Margaret O'Grady
A5 I Heard A Man Say
A6 O Weary Brain
A7 Cool September
B1 Children Of Ice
B2 Will You Be There
B3 Eieio
B4 End Game

Other Versions (4 of 4) View All

Cat# Artist Title (Format) Label Cat# Country Year
j.r. 4791/64 Madden And Harris Fools Paradise(LP, Album) Jasmine Records (5) j.r. 4791/64 Australia 1975 Sell This Version
VSC-001 Madden And Harris Fools Paradise(CD) Vicious Sloth Collectables VSC-001 Australia Unknown Sell This Version
GUESS128 Madden And Harris Fools Paradise(LP, Album, RE) Guerssen GUESS128 Spain 2014 Sell This Version
M2U-2001 Madden And Harris Fools Paradise(CD, Album, RE, RM) M2U Records M2U-2001 South Korea 2003 Sell This Version



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May 16, 2013
edited over 4 years ago
Full Album in Playlist...

In common with many private pressings, the only album by Madden & Harris is both imitative of some famous artists and not nearly as good as the best releases by their inspirations. Yet on the other hand, like many private pressings, Fool's Paradise is interesting in that it has an unpredictability and homespun (though not lo-fi) idiosyncrasy of the sort that almost every major-label big-budget release ironed out, particularly in the mid-'70s, when this came out. It's placid, pleasant early-'70s-style folk-rock with a dash of progressive rock influence, sounding fairly British in its appropriation of both approaches, although the duo was based in Sydney. In some senses it's fairly standard stuff of its ilk, with a haunting though not outstandingly innovative melodic air that recalls olden pre-industrial British times. There's also a song cycle feel in which the concept remains elusive, despite the four-part "Fool's Paradise" suite that serves as the closing track. But it's not just the usual rural hippie-folkie trip, with some imaginative use of synthesizers and strings embellishing the arrangements, as well as disciplined interplay between the vocal harmonies that has a slight classical/choral grandeur. At some moments (like "The Wind at Eve"), it can recall the folkiest aspects of the very early King Crimson, when Ian McDonald was still in the lineup; "Margaret O'Grady" is a low-key Kinks-like character sketch, with the obligatory vaudevillian bounce; and some of the more reflective passages (especially in the "Will You Be There" section of the "Fool's Paradise" suite) are a little similar to the gentlest, most acoustic moods of 1970s Pink Floyd.