Flat Baroque and Berserk

AMG Review of Flat Baroque and Berserk

Richie Unterberger
All Music Guide

Roy Harper's fourth album found him in an acoustic folkie mode more often than not, though as usual (for circa late-'60s Harper) there were detours into pretty ocky items on occasion. It's not much of either a progression or a slide from the lyrically convoluted, somewhat but not incredibly melodic path he had established with his prior work. "I Hate the White Man," however, is certainly one of his most notable (and notorious) compositions, a spew of lilting verbiage that's hard to peg. It could be irony, it could be ironic self-hatred, it could be muddled reflections on the chaos that is the modern world, or it could be a combination of all of them. There are gentler items, sometimes with subdued harmony vocals and orchestration, that sound rather like Harper's most acerbic side sanded off with edges of Al Stewart, Donovan, or Tim Hardin; "Another Day" is the prettiest of those. The atypical "Hell's Angels," on the other hand, has a twisted, chunky ock feel rather like the solo work of another of producer Peter Jenner's clients, Syd Barrett.