High Tide wasn't much different than its predecessor, 1963's Folkswinger, except that it was actually more conservative in its arrangements, dispensing with the light drums that had been featured on the prior LP. Partly for that reason, it's not as good as Folkswinger. It's just average folk music from the end of the 1960s folk revival, with the obligatory bit of vibrato at the most impassioned moments (although DeWolf's pretty understated in that regard). It's not at all offensive, but difficult to get worked up about either. He's better on the somber, somewhat melancholic numbers, like "High Tide" and "Life Is a Stage," than on the more upbeat troubadour tunes. "High Tide," incidentally, is yet another title for a folk standard that took many guises in the 1960s, whether as "Silkie" (Joan Baez), "Great Selchie of Shule Skerry" (Judy Collins), or "I Come and Stand at Every Door" (the electric version by the Byrds).
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