1) From www.othermusic.com

Believe it or not, in the late-'70s, the man behind this little-known British folk-rock gem produced sessions for Adam & the Ants and the Slits, and accidentally stumbled into fame with his group M's massive 1979 hit "Pop Muzik"... In spite of the hastily arranged partnership between Scott and backing band Mighty Baby, the album turned out marvellously; Scott hypothesizes that Mighty Baby must have been "either very intuitive or very high." As the case always seems to have been with this type of record, Woman From The Warm Grass was released by a small label which went out of business shortly thereafter, relegating the album to decades of obscurity in spite of a positive response from the critics. Do you like John Martyn, Marc Brierley or Roy Harper? If so, you'll no doubt want to pick up this CD.

2) From www.justaddnoise.com

You might recognize the name Robin Scott. He scored a number one hit here in the states in 1979 with "Pop Muzik".Well, a decade earlier he was recording Dylan-esque acoustic folk ballads, and this is his debut album, which originally appeared on the English underground label, Head Records. Definitely worthy of a home in the collection of any hardcore acid/psych-folk fan. It has found a happy home in mine.

3) From www.singersong.homestead.com

The songs are often poetic, and were inspired by perhaps Dylan and Cohen, but also Paul Simon, without any imitation of their styles. Scott mixes real poetic moments with inspiration from personal experiences, a love affair, or just fantasies. Just a few tracks are more rocking, like " The Sailor ", and the closer, "The Purple Cadger". Most other tracks have a darker approach, with strong emotional tension, textural strength and strongly emphasized acoustic guitar. On the rocking and slightly progressive "Penelope" you can hear most clearly how colourful and deep Robin's voice can be. The arrangements are really well done, sometimes sparse, like some cello on "Point of Leaving". The bonus track is acid folk with female dual vocals, from a Peel session done shortly after the LP was recorded. A great, perhaps classic album.

4) From www.allmusic.com (by Richie Unterberger)

Robin Scott's 1969 album Woman from the Warm Grass was very much in the mold of many British folk-ground artists of the time who were gingerly making the transition to a folk-rock sound. In fact, in material and presentation, Scott was fairly similar in feel to a few other artists that producer Sandy Roberton worked with, including Al Jones , Keith Christmas , and Shelagh McDonald . Scott's vocals and songs were earnest and verbose, with the reflective fragile moodiness (and yearning, sometimes florid romanticism) found in many British folk/folk-rock singer/songwriters of the era, from Al Stewart and Donovan on down. As artists in this genre go, Scott's pleasant and reasonably interesting, though not distinguished. He and Roberton do vary the arrangements, sometimes opting for just solo acoustic guitar and voice, at others using full rock backing from the band Mighty Baby . Generally, the unplugged tracks work better; "The Sound of Rain," with subdued orchestration backing the acoustic guitar, has the sort of narrative-oriented mystical acid folk pioneered by Donovan , while "Song of the Sun" has the poetic wordy gray melancholy very particular to this period of British folk. So there's a lot here for listeners who dig this particular micro-style in general, with the notable exception of an overwhelmingly strong vocal or songwriting individuality, though Scott's likable enough. The 2006 CD reissue on Sunbeam adds a nice bonus cut from a BBC session, "Tattooed Lady," that doesn't appear on the original album in any form. This track has lead singing by Scott's girlfriend of the time, Penny Lamb (with Scott on guitar and vocal harmonies), and a slightly brighter, poppier, and more melodic feel than the material that had been recorded for the LP.