Rock'n'Roll Refugee

I can’t recall seeing many interviews or reviews of this guy’s work, but while looking through some back copies of Go Set recently, I have come across a few items. ZN suggests that the Sydney Go Set had different contents to that of Melbourne’s and if this is so, perhaps Francis was featured more often in the Sydney edition than he was in Melbourne. John Graham had a regular column, in the Planet magazine/paper, and reviewed acoustic music, this album being one. His first reaction was: how did the hell did they manage to get such a shithouse sound on his guitar and what did they do to his voice, which sounds 10 times as good live. JG pointed out that Francis was born in the USA, and that his work sounds vaguely of Cat Stevens at times. He considered the better tracks to be Train and Why do You Think I’m Leaving (which in live performance are incredible). A bloody good songwriter.

“Exhibits varying directions and a mixture of expressions. Francis’s high standard of musicianship, thought and songwriting gently rippled throughout... virtually a live studio album” (Darel Nugent, Go Set).

Breaks, Works and Thoughts

Ear for Music was a short lived music paper in the early seventies. It had a big review section, but also had articles on hi fi and musical instruments. John Forest reviewed this album for the paper. He concentrated on Francis the man and his philosophies, rather than the music. “Francis’ voice is strong, flexible, rough when it should be, tender when necessary. The words are always clear, the songs have a basically simple form, and the words fall together well, except on Play Mumma Play, which sound a bit contrived. Every track is different from the others in style, form, rhythm, melody, sound, instrumentation, always interesting. Spacious, peaceful beauty is expressed in God’s Garden, raunchy rock and roll sounds in Bop Right Over You, and Rock ‘n’ roll Lament, fast urgency and intelligent use of echo in Steel Man.” JF’s favourite track is Liberated Roadside Lady, and the album is “definitely worth listening to”.

“ A progression from the first album... better and tighter arrangements, new ideas and more concentration” (Darel Nugent, Go Set). Simple Ben was also released as a single to promote the Morning of the Earth album.

Disc and Tape Review raved: “ Francis is among the handful of truly original creative Australians on the scene. This new album is world class in musianship, production and composition right down to the quality of Francis’ throaty soulful voice and his artistry with lyrics and melodies. A great album.”

Open Fist

I never saw many reviews of any of Francis’ albums, although the second is a warm favourite of mine, especially side two of this album, and the track Countryside Angelus which closes side one. (In fact I have only ever seen two reviews of his four albums).

I suppose Francis originating north of the Murray did not help his cause in Melbourne much. This album was reviewed in Go Set, the reviewer indicating that this was his best by far: “A gritty mixture of folk and rock rhythms overlaid with the Francis voice, a searing blend of brutality and honesty.”

The remainder of the review discusses a prominent Sydney vocal teacher singing praises of the previous album (excuse pun).

Wassa Matta

Beginning with Mess O’ the Blues, Francis launches into another strong album. The song sets the standard and only on one or two occasions, does it drop from this level. His gravelly voice is restrained -- he never seems to extend himself -- but the song is driven by a rollickin’ piano. A Christian Woman Came is a rocky blues track, while Sometimes is a plaintive ballad highlighted by the use of flute. To the End features some great fuzzy guitar work. One of the weaker tracks lead off side two -- The Big Show: it has some frantic electric guitar but doesn’t save the song. The flute accompanies acoustic guitar on 3 a.m. Moonlight while The Cherry Song is a throwaway with some silly lyrics. Francis’s voice can be compared to Matt Taylor’s: they’re both honest with no pretentions, a bit raw, but with plenty of character.

Paul Conn, in his 2000 Weeks, wrote that the album continued the style of his previous albums, except on The Big Show, which despite the appalling production contains some extremely biting lyrics about the rock business.
Paul Conn rated the album a 4/5

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