b. 12 June 1941, Rusholme, Manchester, England. Although introduced to music through his brother's skiffle group, Harper's adolescence was marked by a harrowing spell in the Royal Air Force. Having secured a discharge by feigning insanity, he drifted between mental institutions and jail, experiences which left an indelible mark on later compositions. Harper later began busking around Europe, and secured a residency at London's famed Les Cousins club on returning to Britain. His debut album, The Sophisticated Beggar (1966), was recorded in primitive conditions, but contained the rudiments of the artist's later, highly personal, style. Come Out Fighting Genghis Smith was released as the singer began attracting the emergent underground audience, but he was unhappy with producer Shel Talmy's rather fey arrangements.
He was also subsequently unhappy with the cover shot, preferring the reinstated image used on the reissued album of a baby being born, complete with umbilical chord (sic). Folkjokeopus contained the first of Harper's extended compositions, "McGoohan's Blues", but the set as a whole was considered patchy. Flat, Baroque And Berserk (1970) introduced the singer's long association with the Harvest Records label. Although he later castigated the outlet, they allowed him considerable artistic licence on this excellent album, considered by Harper as his first "real work", offered contrasting material, including the uncompromising "I Hate The White Man" and "Tom Tiddler's Ground", as well as the jocular "Hell's Angels", which featured support from the Nice. The latter was one of the first songs to feature a wah wah linked to an acoustic guitar.
Stormcock, arguably the performer's finest work, consists of four lengthy, memorable songs which feature sterling contributions from arranger David Bedford and guitarist Jimmy Page. The latter remained a close associate, acknowledged on "Hats Off To (Roy) Harper" from Led Zeppelin III, and he appeared on several succeeding releases, including Lifemask and Valentine. Although marred by self-indulgence, the former was another remarkable set, while the latter reaffirmed Harper's talent with shorter compositions. An in-concert album, Flashes From The Archives Of Oblivion completed what was arguably the artist's most rewarding period. HQ (1975) introduced Trigger, Harper's short-lived backing group consisting of Chris Spedding (guitar), Dave Cochran (bass) and Bill Bruford (drums). The album included "When An Old Cricketer Leaves The Crease", in which a colliery brass band emphasized the melancholia apparent in the song's cricket metaphor. A second set, Commercial Break, was left unreleased on the group's demise. The singer's next release, Bullinamingvase, centred on the ambitious "One Of Those Days In England", but it is also recalled for the controversy surrounding the flippant "Watford Gap" and its less-than-complimentary remarks about food offered at the subject's local service station. The song was later removed.
It was also during this period that Harper made a memorable cameo appearance on Pink Floyd's Wish You Were Here, taking lead vocals on "Have A Cigar". Harper's subsequent work, while notable, lacked the passion of this period and The Unknown Soldier, a bleak and rather depressing set, was the prelude to a series of less compulsive recordings, although his 1990 album, Once, was critically acclaimed as a return to form. The follow-up Death Or Glory? was an emotional record that bemoaned the ending of his long relationship with his lover. In the mid-90s he was often to be found performing with his son Nick (Nick Harper), a similarly talented individual with an uncanny musical resemblance to his father. The elder Harper should, however, be both flattered and proud. The recent releases The Dream Society and The Green Man are densely constructed records featuring acute lyrical wordplay. Time and time again on these collections Harper proves what an original talent he is, and an artist who refuses to let the grass grow under his feet. Most of Harper's back catalogue has been sensitively reissued on the small Science Friction label. Clearly, this record company cares passionately about Harper.
The ambitious release of a series of albums chronicling his performances live at the BBC reaffirmed his talent. Songs such as "Forever", "I Hate The White Man", "Another Day", "Too Many Movies", "Home" and the glorious "Highway Blues" have all stood the test of time. Roy Harper remains a challenging, eccentric songwriter who has steadfastly refused to compromise his art. Commercial success has thus eluded him, but he retains the respect of many peers and a committed following. He may be cantankerous and opinionated but through all this he remains a highly intelligent poet and a hopeless romantic blessed with a remarkable voice. Mostly, his entire recorded output is hugely underrated.
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