Biography
Emerging as one of the standout acts from the mysterious 1960s scene, the Incredible String Band formed around the core partnership of Mike Heron and Robin Williamson. Their distinctive style blended evocative Celtic folk tunes with additions from various Middle Eastern and Asian instruments. In the early 1960s, Heron participated in multiple rock ensembles across England, whereas Williamson teamed with Clive Palmer for performances in bluegrass and Scottish folk traditions. Invited to contribute on rhythm guitar, Heron completed the trio that adopted the name Incredible String Band.
Joe Boyd discovered the group during a club appearance while launching the British division of Elektra Records. The musicians presented Boyd with a demo tape containing primarily American bluegrass standards alongside a handful of originals, and the latter tracks captured his attention more strongly. Their self-titled debut, issued in 1966, emphasized original material rendered with energetic American and Celtic folk approaches. After the record appeared, Williamson devoted several months to musical study in Morocco, prompting Palmer’s departure for travels in Afghanistan. On the follow-up, The 5000 Spirits or the Layers of the Onion, Middle Eastern oud, Indian sitars, and tambouras introduced exotic elements into the ensemble’s sonic palette. Songwriting also turned more playful, with notable examples being Williamson’s insomnia narrative “No Sleep Blues” and Heron’s romantic “Painting Box.”
Critical acclaim surrounded the Incredible String Band, and their subsequent release, The Hangman’s Beautiful Daughter, marked a brief commercial peak. Though less accessible than the prior effort, the album climbed to the Top Ten on the British album charts while achieving the group’s strongest U.S. Billboard showing at number 161. Compositions grew freer in form, evident in the opener “Koeeoaddi There,” whose frequent tempo shifts unfolded exuberantly over sitars and jaw harp. The centerpiece “A Very Cellular Song” stitched together brief segments linked by the folk tune “Bid You Goodnight.” For Wee Tam and the Big Huge, Williamson and Heron’s partners Licorice McKechnie and Rose Simpson expanded the lineup.
The musicians also began using electric amplification. This augmented configuration appeared at the Woodstock festival in 1969, though circumstances prevented a standout set. Originally scheduled for Friday night after Joan Baez, the band declined to play amid heavy rain. Folksinger Melanie assumed their slot and earned an enthusiastic response, later commemorating the occasion with her major hit “Candles in the Rain.” The Incredible String Band received a muted reaction the following afternoon, positioned between Creedence Clearwater Revival and Canned Heat.
By the start of the 1970s the Incredible String Band’s forward drive had begun to wane. Changing Horses proved less compelling than earlier collections, and the group’s broad eclecticism shifted from strength to drawback. Bassist and pantomimist Malcolm LeMaistre joined in 1971 for U, a stage production that garnered praise yet transferred less readily to disc. In 1972 the ensemble shifted toward electric rock & roll.
After issuing Hard Rope & Silken Twine in 1974, the Incredible String Band dissolved. Both founders pursued active solo paths, with Heron moving toward rock and Williamson delving into his Celtic heritage. For years the band registered as a period relic. Renewed fascination with the psychedelic 1960s and world music has since prompted rediscovery by fresh listeners drawn to its mystical appeal. Hux Records issued Tricks of the Senses, a double CD compiling rare tracks, studio outtakes, and live performances, in 2009.
Joe Boyd discovered the group during a club appearance while launching the British division of Elektra Records. The musicians presented Boyd with a demo tape containing primarily American bluegrass standards alongside a handful of originals, and the latter tracks captured his attention more strongly. Their self-titled debut, issued in 1966, emphasized original material rendered with energetic American and Celtic folk approaches. After the record appeared, Williamson devoted several months to musical study in Morocco, prompting Palmer’s departure for travels in Afghanistan. On the follow-up, The 5000 Spirits or the Layers of the Onion, Middle Eastern oud, Indian sitars, and tambouras introduced exotic elements into the ensemble’s sonic palette. Songwriting also turned more playful, with notable examples being Williamson’s insomnia narrative “No Sleep Blues” and Heron’s romantic “Painting Box.”
Critical acclaim surrounded the Incredible String Band, and their subsequent release, The Hangman’s Beautiful Daughter, marked a brief commercial peak. Though less accessible than the prior effort, the album climbed to the Top Ten on the British album charts while achieving the group’s strongest U.S. Billboard showing at number 161. Compositions grew freer in form, evident in the opener “Koeeoaddi There,” whose frequent tempo shifts unfolded exuberantly over sitars and jaw harp. The centerpiece “A Very Cellular Song” stitched together brief segments linked by the folk tune “Bid You Goodnight.” For Wee Tam and the Big Huge, Williamson and Heron’s partners Licorice McKechnie and Rose Simpson expanded the lineup.
The musicians also began using electric amplification. This augmented configuration appeared at the Woodstock festival in 1969, though circumstances prevented a standout set. Originally scheduled for Friday night after Joan Baez, the band declined to play amid heavy rain. Folksinger Melanie assumed their slot and earned an enthusiastic response, later commemorating the occasion with her major hit “Candles in the Rain.” The Incredible String Band received a muted reaction the following afternoon, positioned between Creedence Clearwater Revival and Canned Heat.
By the start of the 1970s the Incredible String Band’s forward drive had begun to wane. Changing Horses proved less compelling than earlier collections, and the group’s broad eclecticism shifted from strength to drawback. Bassist and pantomimist Malcolm LeMaistre joined in 1971 for U, a stage production that garnered praise yet transferred less readily to disc. In 1972 the ensemble shifted toward electric rock & roll.
After issuing Hard Rope & Silken Twine in 1974, the Incredible String Band dissolved. Both founders pursued active solo paths, with Heron moving toward rock and Williamson delving into his Celtic heritage. For years the band registered as a period relic. Renewed fascination with the psychedelic 1960s and world music has since prompted rediscovery by fresh listeners drawn to its mystical appeal. Hux Records issued Tricks of the Senses, a double CD compiling rare tracks, studio outtakes, and live performances, in 2009.
Albums
