Initial Variations
Living Tradition June 2009
Preston's own guitar hero has nailed it again. Ten beautifully arranged instrumental tracks, predominantly acoustic guitar orientated as those familiar with KN's work would expect, but with generous helpings of stunning banjo work and smatterings of divine Dobro and electric lead. I would urge even listeners who wouldn't normally subject themselves to an entire album of instrumentals to give this one a bash.
Those of us familiar with KN's work will recognise some motifs from previous
accompaniments, but here they are fully developed as stand alone pieces - although mysteriously each one is named after the initials of people who have had an important influence in his life ( mostly family and friends - don't make the mistake I did and try to guess which musical influence a particular track was named after). Of course, by giving each track such obscure titles, does away with any debate as to whether the name is appropriate to the music. I’m assuming that the personsso obliquely referred to have been aware of the fact that they've had tracks named after them (as far as the rest of us are concerned, he might as well have called them movements 1 to 1O inclusive). Mind you, on a similar theme, the initials of the title are shown as Roman letters. which can also suggest the Roman number 4 (although even that significance is lost on me as this is, by my reckoning, his eleventh solo effort (not counting the cassette-only albums from years back)). The tunes themselves do stand alone, my highlights being R.B., B.H. and P.C., as they all show KN at his best - roller coasters of musical virtuosity that spellbind this listener but there's much merit in all tracks. A must buy for the guitar geeks among us - just try not to analyse the track naming convention.
Grem Devlin.

Initial Variations
charliebarkermusic.com March 2009
There is no question; Ken Nicol is one of the great masters of the guitar. His latest album Initial Variations is definitive proof, adding to an impressive catalogue of recordings, which span over 30 years.
To release a fully instrumental album is a brave decision to make, your instrument laid bare with no safety nets. A whole host of instruments are featured on the album including; Acoustic steel and nylon strung guitars, 5 string banjo, steel resonator and electric guitars, with mandolin, bass and percussion all provided by Nicol himself. There are no boundaries where genre is concerned, this rich tapestry of instrumentation flawlessly shifts between folk, bluegrass, jazz, acoustic and blues.
This is a challenge for any musician today in a lyrically dominated market; however Nicol carries a pure acoustic sound with empathy and precision. There is no need for song lyrics when you can conjure up exact emotions with a melody and a chord. There are some concepts and feelings that cannot be limited by words.
The whole album bears an interesting concept with 10 tracks, given just two initials for the title, referring to a specific person whom the track is dedicated to or written about. Whether it is the tender first track C.M., the melancholic seventh track B.H. or the playful fourth track P.C., you can’t help but picture the people and stories behind each one.
Some may take the view that this CD is aimed at so-called ‘musical nerds’ and for those people I urge you to broaden your horizons. If you appreciate passion, determination and craft then you will love this album.
Initial Variations is such a dynamic recording, which draws upon a listener’s imagination. Your mind’s eye creates images which could not be portrayed in any other way and herein is the true beauty of this recording.
Charlie Barker

Initial Variations
Rock 'n' Reel March/April 2009

Although best known now as a member of the folk-rock fraternity, this album sees Ken Nicol revisit his first career choice as an acoustic guitar player.
The ten instrumental tracks also feature banjo, mandolin, bass, percussion and some electric guitar, all played by Ken. All the titles comprise two initials, representing someone who has played a role in his life and career although he doesn't identify them any further–they know who they are and that would seem to be sufficient. Only one piece, 'A.K.', is exceptionally long, beginning with a classical guitar sound before changing into a robust steel-strung section featuring some strikingly odd chords. 'P.C.' breaks the pattern of lyrical guitar pieces by being a sparkling solo banjo tune, and 'B.H.' with its resonator guitar is particularly fine.
Some of the later pieces demonstrate Ken's digital dexterity to particularly good effect - 'R.B.' is especially impressive–but best of all is his avoidance of any accusation of noodling. These are well-crafted melodies, even tunes you can hum and overall this is a fine showcase for the man and his many skills.
Dai Jeffries.

Initial Variations
Stirrings June - August 2009
This is a CD of ten instrumentals composed and played by Ken Nicol (acoustic steel, nylon strung, steel resonator and electric guitars, five-string banjo, mandolin, bass and percussion) and each track bears two initials of a family member or friend. Now where have I encountered this idea before?
Ken's playing encompasses many different genres; there's the gut-strung, jazzy bossa-nova of F.Y. (complete with bass and percussion), the O'Carolan tinged I.H., some storming bluegrass/old timey five-string on P.C., and A.K. has a definite Jansch-like quality.There's some dolorous resonator on E.P., P.W. put me in mind of the late, great Joe Pass, and R.B. is a mixture of ragtime and Albert Lee. All this plus some stylish mandolin on the final track.
Ken plays with great virtuosity and sensitivity, and recording and production values are excellent. Recommended.
Ian Spafford.

Initial Variations
Net Rhythms June 2009
On his deliberately enigmatically-titled new solo album, the signature guitarist from Steeleye and the Albion Band delivers a brilliant sequence of ten finely-etched and well-contrasted instrumental pieces, each bearing the initials of an individual who has figured significantly in Ken's life (family or friend, past or present). Unlike the ostensible Elgarian model, Ken's pieces don't incorporate or embellish a common musical theme, and thus each piece is self-contained in that respect. We're given no clues as to what the initials stand for, so – aside from one isolated piece of guesswork (that R.B. might just be Roger Bucknall at Fylde Guitars, whose name appears in the sleeve credits) - it's up to us to just sit back and enjoy each piece for what it is rather than agonise internally about whether the musical style adopted actually reflects the character of the individual depicted within! Yes, it's a CD that will be a must for guitar aficionados, but its appeal is definitely more wide-ranging; there's intelligent and beautiful music here to suit all moods and tastes. Exquisitely crafted and melodically rich; deftly and stylishly played; and of course expertly recorded. It's mostly taken at a leisurely medium pace, but each composition is equally masterful in its own way, from the episodic (genial and reflective then sturdy) acoustic-guitar tapestry C.M. and the easy-jazzy F.Y., the lyrical I.H. (redolent of an O'Carolan air) and the good-humoured banjo breakdown (P.C.) to the fluent improvisatory A.K. and the bluesier (Grahamesque) stride of E.P., the gleaming electric and resonator guitar timbres of B.H. contrasting with the deliquescent nylon-strung nuances of P.W. and the skittering fingerpicking of R.B., finishing on the gentle mandolin lyricism of P.A... Whatever, Ken's unassuming display of technique - supremely skilled, but you couldn't ever charge him of needless noodling! - allied to his finely-tuned expressive capabilities, gives this fine collection of pieces a satisfying sense of unity. A lovely record.
David Kidman

Initial Variations
Acoustic magazine, June/July 2008.
When a former Albion Band and current Steeleye Span Member releases a solo album, you can be forgiven for expecting an extravaganza of traditional songs, but that’s not at all what you get from Initial Variations. Ken Nicol has a secret double life as a virtuosic and highly creative instrumental guitarist, and Initial Variations has somehow crept out of that secret world and into the open. You could almost be forgiven for thinking he wanted to keep it secret, so impenetrable is the packaging; every track has a two letter title, starting with ‘C.M.’ and ending with ‘P.A’
The music ranges from neo-classical to bluegrass, all of it faultlessly virtuosic, but wonderful as it is, it’s hard to detect what the unifying theme of the album is. The titles are, I believe, the initials of friends, and the pieces are dedicated to them, but without further information I felt a little lost.
That said, whilst I find that instrumental albums sometimes showcase virtuosity to the detriment of musical interest and creativity, that accusation cannot be levelled at Nicol. The musicianship is staggering, seldom are the compositions less than inspired, and fans of instrumental guitar are likely to be thrilled with this album.
Sam Wise

Initial Variations
Record Collector, June 2008.
For those who don’t know, Ken Nicol is a chap who has paid his dues within the folk-rock world with stints in both the Albion Band and Steeleye Span, amongst others. He also puts out his own material, of which this acoustic instrumental album is the latest.
Its title alludes to the fact that the tracks are all listed as initials of various pals, while the variations suggest the central theme of tunes that glide seemingly effortlessly around a general folk palette. Guitar players will appreciate his masterclass style, while more general listeners will be aware that his gift for melody carries the album higher than the rest. Nicol intertwines subtle variations of musical quotes from more familiar songs and nuances of feels of tracks which change the moods of the material much more that you might expect. A warm wash of an album to enjoy on a number of levels, which can be bought through www.kennicol.co.uk.
Kingsley Abbott.

The Bridge
Living Tradition
Solo outing from Preston-based former guitar / vocals with the ever evolving Albion Band. Ken's has been a well known name in North-west music circles for more years than either he or I for that matter cares to remember! A successful pairing with Chris Wile in the pre Chris and Julie years, he's a journeyman muso whose dues are well and truly paid and he deals in own songs in folk-centric mould combined with a nice touch of irony.
Relationships, fairwells, a showmans life - they're all covered - it's a piece of cake to spot everyone in Nowhere Fast (On The Road)
Take the laid-back good times vibration of John Sabastian, fold in the honeyed country-blues flavour of Fred Neil and serve with a side order of Steve Ashley's well-observed lyricism and you've just about got the taste of this sneakily addictive aural concoction. From the deliciously heartfelt feel of the catchy opener 'Nowhere Fast' to the naggingly busted and bruised, world-weariness of Road Beneath My Wheels Nicol has done a good job with this album. Sometimes wistful (If Ever I Return This Way) occassionally suitable for waltzing after-hours in an empty bar (Rags To Riches) and at one point roadhouse-bluesy (Oh Mavis) with a smattering of romantic whimsy ('Till The English Summer's Done) this set is executed with a sincerity and artistry few could conjure.
Like it? I rang up and booked him!
Clive Pownceby

Read The review of new album 'The Bridge' on 'NetRhythms'

The Bridge
WOW magazine
17 December 2001
Since 1974 Ken Nicol has occupied the hinterland of acclaim and popularity around the live folk circuit of the UK. There may be guitarists who have a higher profile but Nicol proves he's no slouch at nifty picking and turning in some impressive flights of fancy on the fretboard. The Bridge is the latest release in a career which has seen him appear on nearly fifty recordings. In addition to his own solo work, Nicols has been working with Ashley Hutchings, helping to front The Albion Band. The pair co-wrote "The Road Beneath My Wheels" which appears on the album around the half way mark, and is a plaintive tale of experience performed to perfection. Nicol opts to present a compendium of styles which range from blues-tinged ragtime pickings of "Rags To Riches" through to the hauntingly beautiful "Wailing At The Summer Wall" (featuring the lush tones of Andrew Keeling on Flute). "For Love & Money" demonstrates Nicol's ability to capture the rockier side of folk in a convincing manner as his electric guitar soars within an light edging of feedback. For the most part Nicol is at his best unadorned and it's then that the singer and player really combine to best effect. "The Land Of The Free" is an outstanding take on the plight of the asylum seeker which makes this a sobering rejoinder to the knee-jack reaction and thoughtless commentary which passes "debate" in this country. However, if there is a criticism of the album, it would be the lack of a unified feel to the twelve song set which is on offer. Sometimes the light-hearted observations ("Nowhere Fast" and "All He Wants To Do Is Go Fishing") which probably work well in a live context, seem to sit somewhat unevenly next to the more thoughtful examples of Nicols work elsewhere on the album. Putting aside such churlish observations, The Bridge is a great reminder that in our desire to look around the world for new talent, we can sometimes overlook the homegrown talent right under our noses.
Sid Smith

Clean Feet-No Shoes
Folk Roots, October 2001.
"Ken Nicol's soft rock past and session filled history actually belie the fact that he's an able and dextrous guitarist who can play pretty much any style you care to sling his way. His return to these shores from California began to build into his playing a seam he's been expanding ever since, an English sensibility. Of course hanging around with the likes of Chris While and then getting to serve five years in The Albion Band all contribute to this experience. Like a Hoover, he's sucked it all in and added it to a repertoire that's wider than you ever dreamed. His acoustic playing's full of Elizabethan and early music flourishes while his electric lead work rips up the floor in sizeable chunks. Ask anyone who's heard him on The Albion's Wooden O, and they'll tell you he can conjure screaming solos out of thin air. However, here supported by some of the north-west finest, he pulls a bag of tricks taking in all stations from trad to Tom waits. The album's swan song, The Level Plain, is a sensitive treatment of an Irish instrumental that just melts out of the speakers and runs liquid chocolate all over the floor. Is an acoustic album of quiet, assured quality that continues to echo a remarkable story set to run as he once more launches more determinedly into a solo career. Not what you'd expect to come out of Preston, but up there the man's got a reputation and its about time you heard why.
Simon Jones.

Clean Feet-No Shoes
Folk Buzz Magazine
It's 27 years since Ken Nicol's first collaborative outing on disc. He has an impeccable pedigree, having played with almost everyone who is anyone in folk. It reflects the respect others have for Ken's superb guitar playing and contribution to their projects. Ken's solo recorded work began in 1990, the curiously entitled 'Clean Feet-No Shoes' is his third such album.
As you'd expect, the guitar playing is exemplary and most tracks were written and arranged by Nicol. His choice of songs and instrumentals is an eclectic mix, encompassing folk, country, Irish ballads and ragtime. The arrangements are a stripped down acoustic mix, bolstered by contributions from formidable Albion Band members, past and present, including Hutchings, While and Matthews.
Nicol doesn't always get the wider recognition he deserves but this offering once again demonstrates that he can show a clean pair of heels to most of his contemporaries.
Lewis Jones.

"Ken Nicol, a talented stage performer who is being tipped for greatness with his blend of folk, blues & ragtime,".
Steve Tilleys, Sound Check, Staffordshire Evening Sentinel

"Ken Nicol has been described as a "Superstar just waiting to be discovered". A stunning guitarist, writer & singer,".
Don Frame, Manchester Evening News

"What a performer - everyone in the room was tapping their feet and smiling. Ken was forced into no less than three encores. A true professional,".
Jo Walton, Lancaster Weekly

"He can turn his acoustic guitars to: folk, blues, jazz ragtime or ballads with seemingly equal ease and excel at all of them. He writes much of his own stuff, from hornpipes to love songs of such good quality that it leaves you wondering why he's not mega-famous (perhaps he is, it's just that most people don't realise!) Don't just wait to happen across him sometime - seek him out,".
Johnny B (Grapevine press)

"Speaking of Guernsey Folk Festival, all the acts from the North West did our region proud. In fact Ken Nicol's spot, on the final concert, was the highlight of the weekend,".
Tony Gibbons (Folk North West)

"Acoustic guitar ace Ken Nicol was in breathtaking form recently at O'Neils in Harrogate when he turned in a set that featured several memorable originals plus powerful versions of 'Last of the great whales' and James Taylor's 'Steamroller Blues'. Without doubt one of the finest acoustic guitarists the YKM team have ever heard. Don't miss him when he visits a venue near you,".
YourK Music