Rediscover the Soul of a Legend: Nick Drake's Early Masterpieces Emerge
A Pilgrimage to the Genesis of a Legend's Artistry
In the tranquil embrace of Tanworth-in-Arden, a village nestled south of Birmingham, England, devotees converge annually at the final resting place of Nick Drake. Decades following his passing at merely twenty-six, Drake's music cultivated a fervent following, inspiring countless searches for any remaining glimpses of his existence. While no visual recordings have ever surfaced, a freshly released collection dedicated to the creation of his initial album, Five Leaves Left, provides an intimate lens into the authentic Drake—a living, breathing musical talent, both profoundly gifted and captivatingly charismatic, who was truly ahead of his era. This compilation, the result of nearly a decade's meticulous effort, is now accessible to the public.
The Unveiling: A Decade-Long Endeavor Culminating in Sonic Revelation
Comprising four LPs or CDs, depending on preference, this comprehensive set titled The Making of Five Leaves Left features thirty tracks previously unheard by the public, including early recordings and studio sessions. Nick's sister, Gabrielle Drake, an acclaimed actress, recounted her astonishment upon first hearing the album, emphasizing her immediate and enduring affection for it, a sentiment that has remained unwavering since its initial unveiling.
The Genesis of a Secret Project: Unearthing Hidden Gems
The concept for this comprehensive collection materialized in early 2016, following a pivotal phone conversation between Neil Storey, former head of publicity at Island Records, and Johnny Chandler, an A&R professional. Storey, a native of Tanworth-in-Arden, though never personally acquainted with Drake, shared a familial connection through their parents. His career at Island Records commenced in 1974, and he continues to offer consulting services to Universal, humorously attributing his longevity to his extensive experience. Storey shared that Chandler approached him with a highly confidential proposition: to explore the archives for any existing material related to Five Leaves Left, under strict instructions to maintain utmost secrecy. Initially, Storey harbored skepticism regarding the existence of such archival material, as tapes from that period were frequently repurposed or discarded. However, to his profound surprise and fortune, the archives yielded a far richer collection than he had ever anticipated.
Overcoming Obstacles: Gaining the Estate's Endorsement
The estate, overseen by Gabrielle and Cally Callomon, has historically shown reluctance towards archival releases and box sets. This collection represents a notable exception to their usual approach. Certain record company insiders, according to Storey, sought to align the release with specific anniversaries, a notion firmly rejected by Gabrielle, Cally, and Storey himself, who asserted that Drake's music transcends temporal relevance and should not be bound by fleeting commemorative dates. When Chandler and Storey initially presented the tapes to Callomon, the estate executor, he expressed reservations about their commercial viability, though he found them archaeologically fascinating. Gabrielle echoed this sentiment, emphasizing Drake's perfectionism and her long-standing belief that artistic output should be presented as a finalized product, not as a raw, developmental process.
The Pivotal Discovery: Tapes That Changed Perceptions
What ultimately swayed their decision were the newly uncovered recordings. Among them was a demo tape from Drake's initial recording sessions at London's Sound Technique in March 1968, where he would eventually record his three albums alongside producer Joe Boyd and engineer John Wood. At the time, Drake was a student at Fitzwilliam College, Cambridge, and his connection to Boyd was facilitated by Fairport Convention bassist Ashley Hutchings. Boyd, who initially found many contemporary folk artists uninspiring, was immediately captivated by Drake's distinctive sound, recognizing his unique artistry from their very first encounter. This demo, recorded on a mono reel, was serendipitously found among the possessions of folk singer Beverley Martyn, then married to musician John Martyn, suggesting Drake had likely shared it with them. Storey, co-author of the box set's liner notes, mused that the tape might have been simply forgotten by Drake, eventually ending up in a drawer.
Unveiling Raw Talent: A Glimpse into Drake's Early Brilliance
The unearthed demo showcases a nineteen-year-old Drake performing fully developed compositions, including the previously unreleased "Mayfair" and an early iteration of "'Cello Song," then known as "Strange Face." Boyd remarked that these early recordings provided a profound understanding of Drake's extraordinary guitar proficiency and the intricate beauty of his playing. Wood added that Drake entered the studio as a fully realized artist from the outset.
Beyond the Music: The Human Side of a Reclusive Genius
The control room at Sound Technique offered a vantage point over the recording area, where Boyd often observed Wood and Drake at work. Wood spent considerable time with Drake, sometimes even driving him back to Cambridge. He described their relationship as effortless, recalling Drake's often-overlooked sense of humor and quiet demeanor. Drake's personality is further illuminated on a second tape, recorded in late 1968 by fellow Cambridge student Paul de Rivaz. De Rivaz vividly recalled Drake's rendition of "House of the Rising Sun," noting how perfectly suited the guitar riff was to his style. This intimate recording, capturing Drake's candid commentary and cheerful disposition before each track, starkly contrasts with the public's perception of him as a reserved figure. Gabrielle expressed her delight at this revelation, affirming that it unveils the "true Nick."
Creative Vision and Fortuitous Preservation
Before the enchanting and previously unheard track "Mickey's Tune," Drake playfully remarked on the recording's "unprofessional" quality and feigned intoxication, though de Rivaz believed he was merely hungover. Wood, however, clarified that Drake, while a cannabis user, always maintained sobriety during his work. Drake's instructions to arranger Robert Kirby on the tape—suggesting flute accents or a string quartet—underscore his clear artistic vision, even before his debut album was recorded. His appreciation for The Beach Boys' Pet Sounds further reveals his sophisticated musical tastes. Gabrielle affirmed that even at a young age, Drake possessed a precise understanding of his desired sound. This conviction was evident when Drake chose Kirby over Richard Hewson, who had initially contributed arrangements to the album, a topic Storey noted was still a sensitive one.
A Cherished Relic: The Tape's Journey and Its Emotional Impact
De Rivaz carefully preserved the tape for decades, recognizing its historical value. Despite his extensive global travels for British Petroleum, he kept the tape safely in his London home, refusing to risk it with airport magnetic scanners. In April 2017, through a fellow polo player, Kenney Jones, de Rivaz connected with Chandler. He recounted receiving a phone call from Chandler, who expressed belief that he possessed "an interesting tape." De Rivaz subsequently met with Callomon and Gabrielle at Abbey Road. He presented the tape, along with a digital copy, recounting the profound silence that followed its playback, and Gabrielle's visible emotional reaction to hearing her brother's voice after so many years.
A Sister's Enduring Perspective: Reclaiming a Hidden Legacy
Gabrielle reflected on that moment, describing it as a sudden illumination of the youthful Nick, a persona often obscured by the sorrow of his later years. Unlike many archival releases, The Making of Five Leaves Left is a meticulously curated collection, showcasing the evolution of tracks like "Day Is Done" without any superfluous material. There are no seventeen-CD editions or countless alternate takes; each track serves a specific purpose, contributing to the narrative of Drake's artistic development, with detailed explanations provided in the accompanying documentation. The fourth album in the set presents Five Leaves Left exactly as Drake intended for it to be heard. Storey emphasized Gabrielle's vigilant stewardship of Drake's legacy, likening her to a lioness protecting her cubs. She consistently rejects proposals that do not align with honoring Nick's artistic integrity, ensuring that only the highest quality, previously unreleased material is included.
Balancing Integrity and Accessibility: The Box Set's Practical Considerations
Callomon disclosed that the estate also contemplated including Drake's 1969 BBC sessions, but chose against it to maintain the box set's affordability for fans. He acknowledged potential criticism regarding its price but stressed that it was made as economical as possible, deliberately avoiding expensive audiophile vinyl, Blu-ray, or Dolby Atmos remixes to prevent it from reaching the price point of other major artists' box sets. Engineer John Wood expressed his personal reservations about the release of The Making of Five Leaves Left, recalling similar unease when Drake's final recordings, such as the poignant "Black Eyed Dog," were released in the late 1980s. He firmly believes that if an artist intended material to be released, it would have been at the time of creation.
From Skepticism to Endorsement: A Transformative Listening Experience
Boyd shared a similar skepticism until recently, when he first listened to the box set. He and his wife were deeply moved by the four discs, transforming him into its most ardent supporter. When questioned about Storey's description of Gabrielle as a "lioness," Callomon offered a nuanced perspective, suggesting she is more "defensive" than "protective." He highlighted their consistent refusal to permit a biographical film about Nick, a decision that contrasts with recent biopics of other celebrated artists. Callomon noted the persistent demand for such a film but emphasized the estate's commitment to allowing fans to cultivate their own personal connection with Drake, rather than presenting a cinematic interpretation.
Preserving a Unique Connection: Nick Drake's Enduring Allure
Callomon began working with the Drake estate in the late 1990s, just before a 2000 Volkswagen commercial featuring "Pink Moon" introduced Drake's music to a wider American audience. He found it intriguing to manage a deceased artist as if he were still alive. Occasionally, the estate receives requests for Drake to perform at festivals or on television, from bookers seemingly unaware of his passing decades ago. Callomon finds this gratifying, as it indicates Drake's music continues to resonate deeply with new audiences. He noted that Drake rarely gave interviews and performed publicly fewer than thirty times. Callomon stated that any purported video footage of Drake is unauthentic, a view shared by Gabrielle, adding to the enigma surrounding him. The possibility of a future Bryter Layter box set remains uncertain, though fans can imagine the beauty of stripped-down demos of beloved tracks like "Northern Sky." Storey emphasized that any future releases would only occur if they genuinely add value. Both Wood and Boyd consider Bryter Layter a rare instance of perfection, with no room for improvement. While Boyd and Wood initially found Pink Moon, Drake's final album, disheartening due to its sparse arrangements, it has ironically become his most successful commercially. The Making of Five Leaves Left offers a fresh, optimistic view of Drake's early career, illuminating his artistry before the shadow of his later years. This release is a testament to his timeless music, providing an invaluable contribution to his legacy.