Fairport Convention
Band members Related acts
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line up 1 (1966) - Shaun Frater -- drums, percussion - Ashley Hutchings -- bass, backing vocals - Simon Nicol -- lead guitar, accordion, backing vocals - Richard Thompson -- vocals, lead guitar, accordion
line up 2 (1966-67) NEW - Judy Dyble (RIP 2020) -- vocals, autoharp, recorder, piano, harmonium - Ashley
Hutchings -- bass, backing vocals violin, tabla (replaced Shaun Frater) - Simon Nicol -- lead guitar, accordion, backing vocals - Richard Thompson -- vocals, lead guitar, accordion
line up 3 (1967-68) - Judy Dyble (RIP 2020) -- vocals, autoharp, recorder, piano, harmonium - Ashley
Hutchings -- bass, backing vocals NEW - Iain Matthews (aka Ian MacDonald) -- vocals, percussion - Simon Nicol -- lead guitar, accordion, backing vocals - Richard Thompson -- vocals, lead guitar, accordion
supporting musicians (1968) - Claire Lowther -- cello
line up 4 (1968-69) NEW - Sandy Denny (RIP 1978) -- vocals, guitar, keyboards - Ashley
Hutchings -- bass, backing vocals violin, tabla - Simon Nicol -- lead guitar, accordion, backing vocals - Richard Thompson -- vocals, lead guitar, accordion
line up 5 (1969-70) - Sandy Denny (RIP 1978) -- vocals, guitar, keyboards - Ashley
Hutchings -- bass, backing vocals (replaced
Martin Lamble) - Richard Thompson -- vocals, lead guitar, accordion
line up 6 (1970) - Sandy
Denny (RIP 1978) -- vocals, guitar, keyboards
backing vocals NEW - Dave Pegg -- bass (replaced Ashley Hutchings) NEW - Dave Swarbrick -- fiddle, multi-instrumentalist - Richard Thompson -- vocals, lead guitar, accordion
line up 7 (1971) - Dave Mattacks -- drums, percussion, keyboards, bass, backing
vocals backing vocals - Dave Pegg -- bass - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 8 (19) NEW - Roger Hill -- vocals, guitar (replaced Simon Nicol) - Dave Mattacks -- drums, percussion, keyboards, bass, backing vocals - Dave Pegg -- bass - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 9 (19) NEW - Tom Farnell -- drums, percussion (replaced Dave Mattacks) - Roger Hill --
vocals, guitar backing vocals - Dave Pegg -- bass - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 10 (19) -
Tom Farnell -- drums, percussion backing vocals - Dave Pegg -- bass - David Rea -- guitar (replaced Roger Hill) NEW - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 11 (19) NEW - Jerry Donahue -- vocals, guitar - Tom Farnell -- drums, percussion NEW - Trevor Lucas -- guitar (replaced David Rea) NEW - Dave Mattacks -- drums, percussion, keyboards,
bass, backing vocals (replaced Tom Farnell) backing vocals - Dave Pegg -- bass NEW - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 12 (19) NEW - Sandy Denny (RIP 1978) -- vocals, guitar, keyboards - Jerry Donahue -- vocals, guitar - Trevor Lucas -- guitar - Simon Nicol -- vocals, lead guitar, accordion, backing vocals - Dave Pegg -- bass - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 13 (19) - Sandy Denny (RIP) 1978 -- vocals, guitar, keyboards - Jerrry Donahue -- vocals, guitar - Trevor Lucas -- guitar - Simon Nicol -- vocals, lead guitar, accordion, backing vocals - Dave Pegg -- bass - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist NEW - Paul Warren -- drums, percussion (replaced Dave Mattacks)
line up 14 (19) - Sandy Denny (RIP 1978) -- vocals, guitar, keyboards - Jerrry Donahue -- vocals, guitar - Trevor Lucas -- guitar - Simon Nicol -- vocals, lead guitar, accordion, backing vocals - Dave Pegg -- bass NEW - Bruce Rowland -- drums, percussion (replaced Paul Warren) - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up 15 (19) NEW - Bob Brady -- keyboards NEW - Dan Ar Bras -- guitar NEW - Roger Burrigde - Jerrry Donahue -- vocals, guitar - Dave Pegg -- bass NEW - Bruce Rowland -- drums, percussion - Dave Swarbrick -- vocals, fiddle, multi-instrumentalist
line up xx: (1985) - Dave Mattacks -- drums, percussion, keyboards - Simon Nicol -- vocals, guitar - Dave Pegg -- bass, double bass, mandolin, bouzouki, vocals -
supporting musicians (1985) - Cathy LeSurf -- vocals - Ric Sanders -- electric & octave violins - Richard Thompson -- lead guitar - Harold Wells - spoken intro
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- The Albion Band (Ashley Hitchings) - The Albion Christmas Band (Ashley Hitchings) - The Albion Country Band (Ashley Hitchings) - The Albion Dance Band (Ashley Hitchings) - The Brimbeats - Gerry Conway - Spencer Cozens - Sandy Denny (solo efforts) - Judy Dyble (solo efforts) - Dylancentric (Ashley Hitchings) - The Etchingham Steam Band (Ashley Hutchings and Dave Mattacks) - The Ethnic Shuffle Orchestra (Ashley Hitchings) - The Exception - Forthingay (Sandy Denny and Ashley Hutchings) - Gathering - Giles, Giles and Fripp (Judy Dyble) - The GPs - Heavy Jelly - Ashley Hutchings (solo efforts) - The Ashley Hutchings All Stars (Ashley Hitchings) - The Ashley Hutchings Big Beat Combo (Ashley Hitchings) - The Ashley Hutchings Dance Band (Ashley Hitchings) - Jethro Tull - John and Chris Leslie - Judy and the Folkmen (Judy Dyble) - The Lark Rise Band (Ashley Hitchings) - Trevor Lucas and Friends - Ian Matthews (solo efforts) - Matthews Southern Comfort (Ian Matthews) - Mongrel - Morris On (Ashley Hitchings) - Penguin Dust (Judy Dyble) - The Pentangle - Rainbow Chasers (Ashley Hitchings) - Ridgeriders (Ashley Hitchings) - Cecil Sharp Centenary Collective (Ashley Hitchings) - Spiro Gyra - Steeleye Span (Ashley Hitchings) - Super Genius - Dave Swarbrick (solo efforts) - Dave Swarbrick and Simon Nicol - Richard Thompson (solo efforts) - The Strawbs (Sandy Denny) - Trader Horne (Judy Dyble) - The Uglies (Dave Pegg) - Whippersnapper - Wizzard (Bob Brady)
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Genre: folk-rock Rating: **** (4 stars) Title: Fairport Convention Company: Cotillion Catalog: SD-9024 Year: 1970 Country/State: UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1
Catalog ID: -- |
As you can see from the BadCatRecords website, I'm a big Fairport Convention fan. I know it's just a fraction of their recording catalog, but I probably own about two dozen of their albums. Still, I'm no Fairport scholar. In addition to trying to figure out the group's ever changing personnel line-ups, one of the things I've always wondered about is how a little known English folk band ended up signing a recording contract with the Atlantic-affiliated Cotillion label. Best known for its roster of soul artists, it was just the oddest pairing, seemingly guaranteed to generate few sales ...
There's more online bibliographical information on Fairport Convention than virtually any band in existence and their fan base tends to be rabid. As such I'll just hit the highlights leading up to their debut album. Bassist Ashley Hutching and guitarist Simon Nicol met in 1966 when the were members of London-based Ethnic Shuffle Orchestra. Described as an eclectic, acoustic jug band, the quartet rehearsed a building in the Muswell Hills neighborhood known as "Fairport" which was also the site of Nichol's father medical practice. By 1967 they'd morphed into Fairport Convention with the addition of drummer Shaun Frater and guitarist Richard Thompson. Martin Lamble quickly replaced Frater and singer Judy Dyble was subsequently brought into the line-up. As Fairport Convention the band began to attract attention on London's Club circuit. Their first break came when manage Joe Byrd saw them and helped them sign a recording contract with Polydor. Boyd was also responsible for getting the band to add singer Iain Matthews to the line-up.
Produced by Joe Boyd, 1968's "Fairport Convention" offered up a mixture of popular covers and original material. For folks familiar with their extended catalog of English folk tunes, the debut is going to come as a surprise, baring more commonality with The Byrds and West Coast psych bands like The Jefferson Airplane than their English brethren. For a band that had not been together all that long, they sounded surprisingly tight. On tracks like 'I Don't Know Where I Stand' Dyble's crystalline voice was mesmerizing and as shown on the instrumental 'Portfolio' and 'Decameron' she was also a competent keyboardist and autoharp player. As much as I love Sandy Denny, I've always wondered why Fairport saw fit to fire Dyble after the debut album. As shown on their Emmitt Rhodes cover 'Time Will Show the Wiser' Matthews voice provided the band's commercial edge. Thompson may not have liked the spotlight, but he was an awesome guitarist, while the Hutchings - Lamble rhythm section was rock solid. I've always enjoyed the album's cover tune including a "Dylan" tune - a rock-up version of the tradition 'Jack O'Diamonds', two Joni Mitchell covers ('I Don't Know Where I Stand' and 'Chelsea Morning') and a wonderful, radio-friendly cover of The Merry-Go-Rounds 'Time Will Show the Wiser'. Admittedly the six original tunes were somewhat disjoined and not on a par with what was to come, but I have to admit liking most of these performances. Sounding like a Lovin'Spoonfull cast-off, the jug band-ish 'If (Stomp)' was the least impressive of the lot. It may have been one of the album's more commercial tunes, but didn't have a note of originality. The short bluegrass instrumental 'M1 Breakdown' wasn't much better. Far better were the jazzy 'Sun Shade' and co-written by Thompson 'Decameron' with a dark, foreboding sound more in keeping with what would make them megastars. Co-written by Dyble and Hutchings, the instrumental 'Portfolio' sounded a bit unfinished, but powered by Dyble's keyboards had an interesting psych edge. It's certainly not their best, or most consistent album, but it's not nearly as bad as fans of the classic Sandy Denny led line-ups would have you believe. Well worth checking out.
Shortly after it's release the group
underwent it's first personnel change with original vocalist Dyble leaving
to join Giles, Giles & Fripp. Two years after the fact the album
was released by Atlantic's Cotillion subsidiary and then reissued a second
time by A&M.
"Fairport Convention" track listing: 1.) Time Will Show the Wiser (Emmitt Rhodes) - 3:03 rating: **** stars Fairport
Convention fans who've never heard their earliest work are likely to be
surprised by their conventional pop and rock sound. Opening up with a
cover of The Merry Go Round's 'Time Will Show the Wiser' I was certainly
surprised. While it may not quite match the Emmitt Rhodes penned
original, it sure came close. With Iain Matthews
handling lead vocals, Thompson's
roaring guitar was awesome and the group harmonies sheer ear candy.
Hard to believe the song wasn't tapped as a single. YouTube has a clip
filmed for an April 1968 appearance on the French Bouton Rouge Sessions
television program: https://www.youtube.com/watch?v=vPTI4m6KcJQ
Interesting to note The Jefferson Airplane vibe they seemed to be pursuing. The
first of two Joni Mitchell covers, 'I Don't Know Where I Stand' spotlighted Dyble's
crystalline voice on a shimmering folk-rock arrangement of the tune. With
Thompson handling electric guitar and Simon Nichol on acoustic guitar, I've
always liked their cover better than Mitchell's original. To my ears 'If (Stomp)' sounded very much like something out of the early John Sebastian and the Lovin' Spoonful. Not quite good-timey, jug band, but very close. Very atypical of their sound and I've always wondered why the track was issued as a UK single:
- 'If (Stomp)' b/w 'Chelsea Morning' (Polydor catalog number 2058-014)
The
tune had previously appeared as the "B" side to their 'If I Had A
Ribbon Bow' 45.
4.) Decameron (Andrew Horvitch - Paul Ghosh - Richard Thompson) - 3:42 rating: **** stars Spotlighting
Dyble on vocals and autoharp, the acoustic ballad 'Decameron' was apparently
inspired by the Italian author Giovanni Boccaccio's 14th century book
"The Decameron" the song's somber topic was much more in keeping
with the group's future folk direction.. I'd heard of the book and had a
vague memory of the story's doomsday plotline. Courtesy of Wikipeida:
"In Italy during
the time of the Black Death, a group of seven young women and three young
men flee from plague-ridden Florence to a deserted villa in the countryside
of Fiesole for two weeks. To pass the evenings, each member of the party
tells a story each night, except for one day per week for chores, and the
holy days during which they do no work at all, resulting in ten nights of
storytelling over the course of two weeks. Thus, by the end of the fortnight
they have told 100 stories."
Even though it was credited to Dylan and the late actor Ben Carruthers, 'Jack O'Diamonds' was a traditional English folk tune. The Dylan - Carruthers credits apparently stemmed from the fact Fairport used some of the Dylan's revamped lyrics. Those were found on the back cover of Dylan's 1964 "Another Side of Bob Dylan" album. Fairport's rocked up cover sounded similar the version released as a single by Ben Carruthers And The Deep.
(side 2) 1.) Chelsea Morning (Joni Mitchell) - 3:04 rating: *** stars Unlike
the earlier Mitchell cover, their version of 'Chelsea Morning' suffered from
a "busy" arrangement that served to distract from Dyble's nice
vocal. Admittedly the Matthews sung
refrains had a cool lysergic flavor. The song also appeared as the
"B" side on their 'If
(Stomp)' single. Simon
Nicol and Richard Thompson's jazzy guitars gave 'Sun Shade' a cool, sort of
bossa nova feel. Very different and quite cool. The first guitar
solo segment actually sounded like CS&N's
'Wooden Ships'. One of Matthews' sweetest vocals. Opening
up with some Dyble autoharp and recorder, the instrumental 'Lobster' went on
to showcase Thompson's jazzy guitar work before Matthews' creepy vocals
kicked in. It's such an odd lyric, I've always wondered what the
inspiration for this one was. So
there were several jazzy interludes across the album, but then you hit 'It's Alright Ma, It's Only Witchcraft
'. Not sure when or how, but I somehow ended up with a couple of (Jim Glover and Jean Ray (Jim and Jean) albums including 1966's "Changes" which included the original version of 'One Sure Thing. With Dyble on lead vocals Fairport's version toned down the drama in favor of a nice folk-rock arrangement. Thompson and Nichols turn in blazing solos which sees me giving the track an extra star. 6.) M1 Breakdown (instrumental) (Tyger Hutchings - Simon Nicoll) - 1:21 rating: ** stars Given drummer Martin Lamble and Thompson's-then girlfriend Jeannie Franklyn were killed in May 1969 traffic accident on the M1 motorway (Hutchings, Nicol, Thompson and manager/sound technician Harvey Branham were all seriously hurt), there was a certain irony in the final song. It actually wasn't much of a song - basically a bluegrass riff with some truck-with-a-broken-engine sound effects.
© Scott R. Blackerby February, 2025
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Genre: folk-rock Rating: ***** (5 stars) Title: Fairport Convention Company: A&M Catalog: SP-4185 Year: 1969 Country/State: UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1
Catalog ID: 4850
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I own a big chunk of the extensive Fairport Convention catalog, but have to admit that I've always been kind of a lukewarm fan. The group's sheer 'English-ness' has always left me on the outside kind of wondering what all the excitement was about. That said, the group's second album has always been a collection that I've enjoyed. This is simply a great collection that should be known to more folks.
Featuring a
drawing drummer Martin Lamble and Sandy Denny had sketched on a university
blackboard, the original UK release was entitled "What We Did On Our
Holidays"
(Island catalog number ILSP-9092). For some reason A
Unfortunately the album was followed by a series of artistic and personnel disasters. Unhappy with the turn towards traditional old material vocalist Matthews dropped out, reappearing with Matthews Southern Comfort.
"Fairport Convention" track listing:
1.) Forthingay (Sandy Denny) - 3:03 rating: ***** stars 'Forthingay' was one of the first tunes Sandy Denny wrote after joining Fairport Convention. Geez, if for no other reason, the song deserves five stars for Denny's crystalline clear voice and stunning delivery. Even folks who aren't into the folk genre should find this tune mesmerizing. And yes, I have to admit it took me years to discover the title was inspired by Fotheringay Castle where, after being accuse of treason against Elizabeth1 (her cousin), Mary, Queen of Scots was imprisoned prior to her execution. 2.) Mr. Lacey (Ashley Hutchings) - 2:50 rating: *** stars Where would the word be without English eccentrics? 'Mr. Lacey' was a full-tilt rocker (for folks who didn't think Fairport had it in them). Bassist Hutching was inspired to write the song by the late Robert Lacey who was best known for his "robots". Lacey and his wife Jill Bruce incorporated the robots into a theatre show that was aimed at a children's audience. The robots actually be heard in the song's mid-section instrumental break. 3.) Book Song (Richard Thompson - Iain Matthews) - 3:12 rating: **** stars Featuring Iain Matthews on lead with Denny harmonizing, 'Book Song' was one of the prettiest compositions in their catalog. The track was also a nice platform for Richard Thompson's tasty lead guitar. 4.) The Lords Is In this Place ... How Dreadful Is this Place (instrumental) (Ashley Hutchings - Richard Thompson - Sandy Denny) - 1:50 rating: ** stars To my ears 'The Lords Is In this Place ... How Dreadful Is this Place' was little more than a sound collage. Musically the instrumental offered up a weird mix of traditional English folk and Arabian flavors. 5.) No Man's Land (Richard Thompson) - 2:23 rating: **** stars With a bouncy melody and smile inducing group vocals, 'No Man's Land' was one of the most commercial tunes Fairport's ever recorded. It's also the track that started my explorations of Thompson's solo catalog. Love the accordion solo. 6.) I'll Keep It with Mine (Bob Dylan) - 5:50 rating: **** stars No self-respecting '60s band was going to record an album without at least one Dylan cover. Fairport were no exception. Again showcasing Denny on lead vocals, their cover of 'I'll Keep It with Mine' is siply one of the best Dylan cover's I've ever heard. Their version shreds Dylan's version, Judy Collin's early attempt (Dylan may have written the song for Collins), or any of the dozens of other versions that have been recorded over the years. The song was tapped as a US single:
- 1969's 'I'll Keep It with Mine' b/w 'Forthingay' (A&M catalog number 1109).
(side 2) 1.) Eastern Rain(Joni Mitchell) - 3:36 rating: ***** stars Other than the weird fade-in, their cover of Joni Mitchell's 'Eastern Rain' is wonderful. Denny's voice has seldom sounded as lovely and the band harmonies are delicious. Curiously Mitchell's version wasn't released until when it was included on her 2020 boxed set "Archives Volume One: The Early Years (1963-1967)" compilation. 2.) Nottamun Town (traditional) - 3:07 rating: **** stars I always thought 'Nottamun Town' was a medieval English song, but apparently it traces it's roots to early Colonial times. Even though I'm not a massive folk fan, set to an unexpected, almost raga-flavored melody, Denny and company turned in amazing vocals on this one. Stunning. 3.) Tale In Hard Time (Richard Thompson) - 3:24 rating: **** stars Think you'd ever hear Richard Thompson write a slice of '60s sunshine pop? Well, with Matthews handling the lead vocals and complete with a mesmerizing harpsichord figure, this one almost felt like a Brian Wilson and the Beach Boys tune. Fantastic Thompson guitar solo too boot. Perhaps nothing more than urban legend, but the story goes that Fairport played a radio session with Tim Hardin (the title is almost an anagram of Hardin's name). The Fairport members were so impressed by Hardin's stoned performance, they wrote a song to remember the occasion. 4.) She Moves Through the Fair (traditional) - 4:09 rating: **** stars Another tune that I thought was a medieval English folk tune. Apparently not. About all I can say is ... Sandy Denny !!! Beautiful. 5.) Meet On the Ledge (Richard Thompson) - 2:49 rating: ***** stars Born Catholic I was raised to believe in the goodness of God and the promise of an afterlife full of joy, peace and happiness. If that's the case, I would like to think Thompson's 'Meet On the Ledge' will be part of the soundtrack. The funny thing is Thompson's inspiration came from a large tree he played on as a child. The tree had a large, low hanging limb that Thompson and his buddy's called "The Ledge". Matthews and Denny share the lead vocals. Fairport traditionally closes their concert set with the tune. The song was also tapped as the band's second 45:
- 1969's 'Meet On the Ledge' b/w 'Throwaway Street Puzzle' (Island catalog number WIP 6047) 5.) End of a Holiday (instrumental) (Simon Nicol) - 1:06 rating: *** stars Showcasing Thompson on acoustic guitar, the brief 'End of a Holiday' closed the album with a pretty, but forgettable instrumental.
© 06/2024 Scott R. Blackerby
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Genre: folk-rock Rating: ***** (5 stars) Title: Unhalfbricking Company: A&M Catalog: SP-4206 Year: 1969 Country/State: UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 4851 Price: $25.00
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1969's "Unhalfbricking" was released in the wake of Iain Matthews departure. Matthews was apparently increasingly unhappy with the band's shift towards more traditional folk sounds and subsequently reappeared fronting Matthews Southern Comfort). Their third studio set, "Unhalfbricking" was widely viewed as one of the group's crowning glories. Co-produced by the band and Joe Boyd, the album featured several outstanding contributions from Sandy Denny; notably 'Autopsy' and the stunning 'Who Knows Where the Time Goes.' I don't say this often, but 'Who Knows Where the Time Goes' is alone worth the price of admission. Not to be outdone, Richard Thompson contributed first-rate material in the form of 'Genesis Hall' and the rocking 'Cajun Woman.' Exemplified by the full tilt rocker adaptation of the traditional folk tune 'A Sailor's Life' the set also benefited from the formal addition of multi-instrumentalist Dave Swarbrick to the lineup. Elsewhere, the band's Dylan fixation was in full bloom - the track listing featuring three previously unreleased Dylan compositions (producer Joe Boyd somehow got access to material from Dylan's "Basement Tapes" catalog - 'Percy's Song' (boasting some of the band's most attractive group harmonies), 'Million Dollar Bash' and a cover of 'If You Gotta Go'. I have no idea why, but for some reason the band translated the song into French ('Si Tu Dois Partir'). Equally inexplicable, the song was released as a single and went on to become their only English hit). Song for song the album was every bit as good as the previous "What We Did On Our Holidays" and an album I routinely find on my turntable.
As for the album title, Denny reportedly came up with "Unhalfbricking" while playing the word game Ghost with her band mates. Imagine a variant of Scrabble - players take turns add letters to a word, trying to make the word as long as possible. You lose when you can't extend a word.
Shortly before the album was released 19 year old drummer Martin Lamble was killed when the band's equipment van was involved in a crash while returning from a Birmingham concert. The same crash killed Thompson's girlfriend Jeannie Franklyn.
"Unhalfbricking" track listing: 1.) Genesis Hall (Richard Thompson) - 3:35 rating: ***** stars I'm not a Fairport
Convention scholar, but 'Genesis Hall' was apparently inspired by Thompson's
father. A policeman, the senior Thompson had a minor role evicting
squatters from the abandoned London Bell Hotel (known as Genesis
Hall). Sandy Denny's vocals add a wonderful feeling of melancholy to
Thompson's heartbreaking view of the situation. Nah, it may not be my favorite Bob Dylan cover, but it certainly makes my top-10 list. In case the melody didn't give it away, 'Si Tu Dois Partir' was a Francophile remake of 'If You Gotta Go, Go Now.' Denny seldom sounded as playful and the broken glass sound effects always make me smile. The track was released throughout the world as a single:
- 1969's 'Si Tu
Dois Partir' b/w 'Genesis Hall' (A&M catalog number 1155) The
first time I heard it, I was a little confused by the jazzy feel in Denny's
'Autopsy.' That confusion didn't last long as Denny's silky smooth
voice and the "break-ups are hell" lyrics are mesmerizing. The
traditional folk song 'A Sailor's Life' had been a fixture in Denny's solo
career so it was only natural it would make its way into the Fairport
catalog. With Martin Lamble providing a bed of cymbals, Thompson and
guest violinist Dave Swarbrick were featured prominently. The
mid-section is about as close to aural warfare as you'll hear on an
album. Amazingly the song was recorded in one take. (side 2) 1.) Cajun Woman (Richard Thompson) - 2:43 rating: **** stars Thompson
has a reputation as a dark and troubled guy. Anyone who buys into that
reputation should listen to the bouncy 'Cajun Woman.' Fairport seldom
rocked as hard. At
one point in time I owned 30,000 albums, about 3,000 CDs and anoth 3.) Percy's Song (Bob Dylan) - 6:30 rating: **** stars I'm
no Dylan scholar, but can tell you 'Percy's Song' was written and recorded
back in 1963. Originally intended for Dylan's "The Times
They-Are-a-Changing", the tune finally appeared on 1985's
"Biography" boxed set. Ninety-nine years in Juliet Prison
for a manslaughter traffic death ... I've always loved the
arrangement. Starting as an acapella, the song gradually builds energy
as it goes along. The combination of Denny's lead and the shimmering
backing vocals are lovely. Recorded in 1967, 'Million Dollar Party' was another "Basement Tapes" composition. Like so many Dylan tunes, this one's cloaked in mystery, though it seems like the subject / target was model/actress and ex-girlfriend Edie Sedgwick, along with the late Andy Warhol and his Factory compatriots. Even though he was married to Sara Lowndes at the time, Dylan had been seeing Sedgwick on the side. Sedgwick dumped him in 1966 and that seemingly left a bitter taste in Dylan's mouth; along with disdain for Warhol who he seemed to blame for the breakup. With the band members taking lead vocals, for the different versus the Fairport version is nothing more than a fun time.
© 06/2024 Scott R. Blackerby
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Genre: folk-rock Rating: *** (3 stars) Title: Liege and Lief Company: A&M Catalog: SP-4257 Year: 1970 Grade (cover/record): G / VG Country/State: UK Comments: gatefold sleeve; small SOC Available: 1 Catalog ID: 4852 Price: $20.00
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Their second release in less than a year, 1970's
"Liege & Lief"
proved to be the band's creative and commercial breakthrough. Whereas earlier efforts
reflected a band struggling to meld rock structures and instrumentation with
English folk music, here they finally found the recipe. Simply one of the
year's most original and endearing releases, material such as Denny's
rocking "Come all Ye", the plaintive "Reynardine" and
"Matty Groves" made for a must-hear collection. A major seller in England, the
collection generated little attention, and even fewer sales in the States.
Unfortunately, success led to major creative disagreements within the band.
Interested in pursuing their folk-rock leanings, Hutchings and Denny quit.
Hutchings wasted no time forming Steeleye Span, while Denny reappeared with
the short lived Fotheringay with Denny (see separate entries). (Hutchings was replaced
by former Uglys bassist Dave Pegg.) 1.) Come all Ye
(Sandy Denny - Ashley Hutchings) - 4:55 (side 2) 1.) The Deserter
(traditional arranged by Fairport Convention) -4:10
ick) - 4:35 |
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Genre: folk-rock Rating: *** (3 stars) Title: Angel Delight Company: A&M Catalog: SP-4319 Year: 1971 Grade (cover/record): VG+/VG+ Country/State: UK Comments: gatefold sleeve; small punch out hole top right corner Available: 1 Catalog ID: 6126 Price: $15.00
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The first album following founding member
Richard Thompson's decision to pursue a solo career, 1971's "Angel
Delight" saw Fairport Convention reduced to a quartet
featuring Dave Mattacks, Simon Nicol, Dave Pegg and Dave Swarbrick.
While no longer an active member, Thompson's influence on the band wasn't
entirely missing given he'd co-written two of the ten songs prior to his
departure - 'The Journeymen's Grace' and 'Sickness and Disease'. So
here's the surprisingly t
Perhaps because it's consider to be post-prime Fairport material, this one tends to get lost. Shame since it's easily as good as anything in the earlier catalog and you can still find cheap originals. Well worth looking for.
1.) Lord MacIlborough (traditional arranged by Fairport Convention) - 3:21 rating: **** stars I'll readily admit that I'm not a gigantic fan of Fairport's traditional offerings, but the opener 'Lord MacIlborough' is one of the exceptions. With Swarbrick handling lead vocals, Fairport's arrangement was innovative and entertaining, growing increasingly rock-ish as it went along,. Coupled with the engaging historical lyric it made for a nifty opener. Love Swarbrick's mandolin solo. 2.) Sir William Gower (traditional arranged by Fairport Convention) - 4:52 rating: ***** stars Kicked along by some great Nicol fuzz guitar (he also handled the lead vocals) and a kick-ass Pegg bass line, 'Sir William Gower' was one of those songs you wish would have run even longer. Is there such a thing as folk-blues? Well, that's what this one struck me as. 3.) Bridge Over the River Ash (instrumental) (traditional arranged by Fairport Convention) - 2:19 rating: *** stars The first of two instrumentals, 'Bridge Over the River Ash' showcased Swarbrick's multi-tracked fiddle on a song that seemed to be a mash-up of folk and classical genres. I'm still not sure how the track worked, but like the debut, this traditional number surprised me in terms of being so memorable and enjoyable. 4.) Wizard of Worldly Game (Dave Swarbrock - Simon Nicol) - 4:00 rating: ***** stars Co-written by Swarbrick and Nicol, Wizard of Worldly Game' was a beautiful ballad showcasing the talents of Mattacks on drums and keyboards. Sweet melody (with another nice contribution from Nicol), and haunting lyrics made this one a real pleasure. 5.) The Journeymen's Grace (Dave Swarbrick - Richard Thompson) - 4:20 rating: ***** stars As mentioned earlier, 'The Journeymen's Grace' was one of two tracks that had been co-written by Thompson. In this case the result was a blazing folk-rocker. Mattacks drums were killer while Nicol's guitar solo would have made Thompson proud.
(side 2) 1.) Angel Delight (Fairport Convention) - 3:34 rating: ***** stars The title track was apparently inspired by the band's collective stint living in an old English inn. In severe financial straits, they were piled into a two room suite and were forced to move when a truck crashed through one of the walls. Kicked along by a jaunty melody and some nice group harmonies, as far as I can tell the lyrics were a reflection on the difficulties associated with living in close quarters, with an emphasis on each other's personal shortcomings. The song was actually pretty funny and sported one of the best mandolin solos I've ever heard. 2.) Banks of the Sweet Primroses (traditional arranged by Fairport Convention) - 4:06 rating: ***** stars 'Banks of the Sweet Primroses' started out as a routine folk number, but quickly morphed into one of the album's biggest surprises ... This has to be one of the prettiest melodies they ever crafted. I clearly remember the first time I heard it the song stuck in my head for months. 3.) The Cuckoo's Nest / Hardiman the Fiddler (instrumental) (traditional arranged by Fairport Convention) - 3:35 The instrumental medley 'The Cuckoo's Nest / Hardiman the Fiddler' was professional and mildly interesting. Nicol dominated the first segment, with Swarbrick's fiddle and pennywhistle showcased on the second segment. Pleasant, but hardly the album's most interesting endeavor. 4.) The Bonny Black Hare (traditional arranged by Fairport Convention) - 3:03 rating: ** stars The biggest disappointment, 'The Bonny Black Hare' was a pedestrian folk number that simply never got in gear. 5.) Sickness & Diseases (Dave Swarbrick - Richard Thompson) - 3:45 rating: **** stars The second Swarbrick/Thompson collaboration, 'Sickness & Diseases' was another rocker. Yeah, this one actually rocked. Some fans shun the song, but I love it.
© 06/2024 Scott R. Blackerby
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Genre: folk-rock Rating: *** (3 stars) Title: Full House Company: A&M Catalog: SP-4526 Year: 1971 Grade (cover/record): VG / VG+ Country/State: UK Comments: gatefold sleeve; spine beginning to show wear Available: 1 Catalog ID: 4853 Price: $30.00
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Recorded amidst now-standard chaos on the personnel front, 1970's
"Full House" was erratic, but had it's share of greatness.
Following Sandy Denny's departure, finding themselves forced to shoulder the creative burden, Thompson and Swarbrick demonstrated they'd developed into a capable writing team. Highlights included the nifty Walk Awhile", the lyrically intriguing "Sir Patrick Spens" and the extended anti-war
paean "Sloth" (a Fairport classic and live staple with Swarbrick and Thompson trading versus a fiddle and guitar solos as the song built steam).
Unfortunately several tracks sounded like "Liege and Lief" outtakes. Naturally the album was followed by another round of personnel upheavals; this time mainstay Thompson leaving in pursuit of a solo career. (The LP was originally released with a gatefold sleeve.) 1.) Walk Away
(Richard Thompson - David Swarbrick) - 3:57 (side 2) 1.) Sir Patrick Spens
(traditional arranged by Fairport Convention) - 3:30
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Genre: folk-rock Rating: *** (3 stars) Title: Babbacombe Lee Company: A&M Catalog: SP-4333 Year: 1971 Grade (cover/record): VG+/VG+ Country/State: US Comments: gatefold sleeve; spine beginning to show wear; original lyric insert; original insert Available: 1 Catalog ID: 5589 Price: $20.00
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1971 found Fairport Convention down to a quartet consisting of drummer Dave Mattacks, guitarist Simon Nicol, bassist Dave Pegg and fiddle player Dave Swarbrick. Seemingly powered by the commercial success and artistic recognition bands like The Pretty Things and The Who enjoyed with concept albums (okay I guess The Pretty Things really didn't do all that well with "P.F. Sorrow"), the early 1970s saw an explosion in the rock concept genre. Climbing aboard the bandwagon, Fairport join the throng with the release of 1971's "Babbacombe Lee". Swarbrick reportedly came up with the concept after he found some of John Babbacombe Lee's papers in an antique store (original copies of the LP included a multi-page insert with the detailed story). Anyhow, based on Lee's story, here's a synopsis of the plotline:
- Born into a poverty stricken family, at 15 John 'Babbacombe' Lee went to work for an elder lady - Miss Keyse. - Wanderlust saw him subsequently join the Royal Navy. - Injured while on duty, he was forced out of the service and ended up working for an elderly lady - Miss Emma Keyse. - When the 68 year old Keyes was found murdered in her home, Lee was tagged as the killer. - Based on rather flimsy evidence in 1885 Lee was sentenced to death at the gallows. - Lee has a vision in which Jesus tells him he will not die and three times the gallows mis-function (in each case the trap door will not open). British authorities eventually sentenced him to life in jail. He was released after 23 years.
Yeah, the storyline was very British and probably didn't make a great deal of sense to your average 17 year old rock and roll fan. The plotline was also complicated enough that translating it into an album made for some clumsy segments. That said, forsaking their longstanding practice of updating traditional English folk material, this time around virtually all of the songs were band-penned originals. Sure, this was definitely folk music, but thanks in large part to Nichol's guitar about half of the album had a distinctive commercial feel and occasionally even managed to brush against a rock vibe - check the 'John Lee' section on side 1, the first section of side 2, or the hanging section at the end of side 2. (The absence of clear cut song titles wasn't a brilliant move.) The funny thing is that the album was probably too folky for rock fans, while longstanding Fairport fans may have found it to mainstream. Not my favorite Fairport LP, but I'd put in the top-5 and it tends to grow on you the more you play it. A&M actually released a single in the States though it did nothing commercially:
Given the very English subject matter and the absence of a commercial single, the fact the LP actually hit the US charts peaking at # 195 was something of a miracle.
- 1971's 'John Lee' b/w 'The Time Is Near'
(A&M catalog number 1348-S) 1.) John's Reflection On His Boyhood, His Introduction To Miss Keyes And The Glen, His Restlessness, And His Struggles With His Family, Finally Successful, To Join The Navy (Dave Mattacks - Simon Nicol - Dave Pegg - Dave Swarbrick) - 6:19 2.) This Was The Happiest Period In His Life. All Locked Set Fair For A Career Until He Was Stricken With Sickness And Invalided Out Of His Chosen Niche In Life. Reluctantly And Unhappily He Turned To A Number Of Menial Occupations And Finally Returned To The Services Of Miss Keyes ( Dave Mattacks - Simon Nicol - Dave Pegg - Dave Swarbrick) - 10:21 3.) Tragedy Now
Strikes Hard. The World's Imagination Is Caught By The Brutal Senseless Of
The Apparent Criminal Who Slays His Kind Old Mistress
( Dave Mattacks - Simon Nicol - Dave Pegg - Dave Swarbrick) - 3:57 (side 2) 1.) John Was Hardly More Than A Bewildered Observer At His Own Trial, Not Being Allowed To Say More Than A Few Words. The Tides Of Fate Wash Him To The Condemned Cell Where He Waits Three Sad Weeks For His Last Night On Earth ( Dave Mattacks - Simon Nicol - Dave Pegg - Dave Swarbrick) - 7:32 2.) When It Comes, He Cannot Sleep, But When He Does, A Strange, Prophetic Dream Comes To Him, And Helps Him To Bear The Strain Of His Next Day's Ordeal As Scaffold And Its Crew Try In Vain Three Times To Take His Life ( Dave Mattacks - Simon Nicol - Dave Pegg - Dave Swarbrick) - 13:20
Given the strength of this particular Fairport line up it was unfortunate that shortly after the album was released Simon quit to form The Albion Country Band.
© 06/2024 Scott R. Blackerby
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Genre: folk-rock Rating: *** (3 stars) Title: Fairport Chronicles Company: A&M Catalog: SP-3530 Year: 1976 Grade (cover/record): VG+ / VG+ Country/State: UK Comments: double album, gatefold sleeve Available: 2 Catalog ID: 5853 Price: $15.00
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With the band having absconded to Island A&M was clearly anxious to recoup some of it's
earlier investment. Released in 1976,
"Fairport Chronicles" was a double album, 20 track compilation. Given the band's extensive recording
catalog the result was a well chosen, if limited retrospective. While nine of the selections were drawn from the band's first three
albums, the set was rounded out by a couple of English singles
('Now Be Thankful'), a Fortheringay track ('The Way I Feel'), a Sandy Denny solo effort
('Listen, Listen') and a couple of tracks from The Bunch side project.
A must own for anyone who was simply curious, or for the casual collectors ... (The album was originally released with a gatefold sleeve.)
1.) Tale In Hard Time (Richard Thompson) - 3:25 (side 2)
1.) Bridge Over the River Ash (instrumental)
(traditional) - 2:10 (side 2)
1.) Learning the Game (Buddy Holly) - 2:05
(side
4)
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Genre: folk-rock Rating: *** (3 stars) Title: Farewell Farewell Company: Simons Catalog: GAMA 1 Year: 1979 Country/State: UK Grade (cover/record): VG+/VG+ Comments: UK pressing; gatefold sleeve; no bonus single Available: 1 Catalog ID: 5471 Price: $40.00
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By 1979 Fairport Convention had gone through over a dozen line-up changes; the personnel line-up featuring singer/guitarist Simon Nicol, bassist Dave Pegg, drummer/multi-instrumentalist Bruce Rowland and singer/violinist Dave Swarbrick. Finding themselves without a recording contract for the first time in a decade and with Swarbrick on the verge of permanently losing his hearing due to prolonged exposure to loud music, the band decided to call it quits. They undertook a 'goodbye' tour recording several performances including dates at Birmingham and Southampton Universities and a final performance at the village of Cropredy, Oxfordshire (which happened to be where Pegg lived and has subsequently gone on to become a major annual outdoor festival for the band). Unable to interest a major label in releasing the live set Pegg and then-wife Christine decided to form their own label - Woodworm Records. Released in 1979, "Farewell Farewell" (Woodworm catalog number BEAR 22) captured the quartet in an easy-going, upbeat mood. Covering material from across their catalog, the album may not have been as consistent as the UK release "A Fairport Live Convention", or the US release "Live At the L.A. Troubadour", but apparently feeling free to simply enjoy themselves there were some killer performances on the album, including remakes of 'Matty Groves', 'My Lacey' and the standard closing cover of Richard Thompson's 'Meet On the Ledge'. Never intended for nationwide distribution, only about 25,000 copies were pressed and made available to the individual band members for distribution.
The following year the album was reissued on the Simons label. The Simons package came with a bonus 45 - 'Rubber Band' b/w 'The Bonny Black Hare' (Simons catalog number PMW 1).
"Farewell Farewell" track listing: 1.) Matty Groves (traditional arranged by Fairport Convention) - 6:33 2.) Orange Blossom Special (instrumental) (Ervin Rause) - 2:30 3.) John Lee (Dave Swarbrick) - 3:18 4.) Bridge Over the River Ash (traditional arranged by Fairport Convention) - 2:40 5.) Sir Patrick
Spens (traditional arranged by Fairport Convention) - 3:17 (side 1) 1.) My Lacey (Hutchings) - 3:36 2.) Walk Away (traditional arranged by Fairport Convention) - 4:13 3.) The Bonny Black Hare (traditional arranged by Fairport Convention) - 4.) Journeyman's Grace (Dave Swarbrick - Richard Thompson) - 4:35 5.) Meet On the Ledge (Richard Thompson) - 6:18
The album's been released at least two more times: In 1991 by The Road Goes On Forever label with the addition of 'Rubber Band' (catalog number RFG CD001) and in 2002 by Turning Point Music (catalog number TPM-02211). The Turning Point released as a double LP set and included 'Rubber Band' and three other live performances:
- 'The Hens March Through the Midden / The Four Poster Bed' - 'Flatback Caper' - 'Dirty'
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Genre: folk-rock Rating: *** (3 stars) Title: Gladys' Leap Company: Varrick Catalog: VR-023 Year: 1985 Country/State: US Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $20.00
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1985's 'Gladys' Leap' found drummer Dave Mattacks, singer/guitarist Simon Nicols and bassist Dave Pegg reuniting for the first new Fairport Convention studio set in seven years. Co-produced by the trio, the album also served as a mini-reunion with guitarist RIchard Thompson who contributed the opener 'How Many Times' and provided lead guitar on 'Head In a Sack.' Other musical guests included vocalist Cathy Lesurf (handling lead vocals on the commercial rocker 'My Feet are Set for Dancing') and violinist Ric Sanders (filling in for longtime Fairport member Dave Swarbrick). Fairport albums have always been a hit-or-miss proposition for me so I wasn't sure what to expect from this one. While it wasn't going to match the band's earliest endeavors, song-for-song the mix of originals and covers was surprisingly sturdy. Mattacks, Pegg and Nicols sounded enthusiastic and happy to be working together. The biggest surprise for me came in the form of Nicols voice. With Swarbrick declining to participate in the reunion, Nichol's dry, rugged voice simply sounded great on tracks like 'How Many Time', 'Bird from the Mountain' and the traditional styled ballad 'The Hiring Fair.' Was it a classic Fairport album? Nope, but coming on the heels of some disappointing mid-'70s efforts, it made for a nice comeback. Glad to have it in my collection.
"Gladys' Leap" track listing: 1.) How Many Times (Richard Thompson) - 3:29 rating: **** stars I've always been a fan Simon Nicol's dry, craggy voice and he's seldom sounded as good as on their rollicking cover of Richard Thompson's 'How Many Times.' Is it better than Thompson's original "Small Town Romance" version? Perhaps not, but it's still a blast to hear. To be honest, the track was catchy and commercial enough to have been tapped as a single. 2.) Bird from the Mountain (Ralph McTell) - 4:51 rating: **** stars The first of three Ralph McTell covers, Harold Wells' spoken word introduction left me wondering what I was getting into, but once 'Bird from the Mountain' launched everything turned sweet. Featured Pegg on a rare lead vocal, te song featured a lovely, lilting melody. This was English folk music for people that weren't really into the genre. It's one of those songs that has parked itself in my mental playlist and pops into the rotation from time to time. Would have loved to hear the late Ronnie Lane do a cover. 3.) Honour and Praise (John Richards) - 5:21 rating: *** stars Opening up with some of Pegg's lovely mandolin, the ballad 'Honour and Praise' was blessed with interesting lyrics and a sweet melody. Recorded fora 1986 appearance on the Austrailian Sunday television show, YouTube has a nice March, 1986 performance of the song: Fairport Convention : Honour & Praise (1986) (youtube.com) 4.) The Hiring Fair (Ralph McTell - Dave Mattacks) - 5:53 rating: *** stars How
in the world do you come up with a storyline like this one ... Dave
Mattacks on fretless bass? Which actually leads to my one complaint -
namely the song's somewhat anonymous '80s production sound - electric piano;
electric violin, fretless bass. It actually reminded me a bit of one
of John Martyn's mid-'80s collections. The song's apparently become a
staple in their live set: The
Hiring Fair - Cropredy 2017 (youtube.com) (side 1) 1.) Instrumental Medley '85 - 5:08 - The Riverhead (instrumental) (Dave Pegg) rating: ** stars Hum, I can't think of another Fairport song that starts with a Dave Mattacks drum solo. The instrumental 'The Riverhead' actually sounded like a slice of jazz-rock fusion. Weird. - Gladys' Leap" (Dave Pegg) rating: ** stars The story's inspiration was better than the song's bland reel structure. Pegg was inspired after hearing the story of 88 year old postal delivery woman Gladys Hillier. For 35 years Hillier delivered the mail for the small Gluscestershire village of Cranham. As a short-cut that allowed he to save a two-mile walk, she would jump a three feet wide brook on her rounds. In 1977 the English Ordnance Survey agreed to name the jumping spot in her honor and in 2005, when Hillier was 88, a footbridge was built across the stream. Impressed, Fairport named the album in Gladys' honor. - The Wise Maid" (traditional; arrangement by Simon Nicol and Dave Pegg) rating: ** stars And finally, another professional, but forgettable reel. 2.) My Feet are Set for Dancing (Cathy Lesurf - arranged by Bill Martin) - 4:01 rating: **** stars Best know for her work with groups like The Albion Band, Oysterband and Fiddler's Dream, I've always liked Cathy Lesurf's crystalline voice. She sounded great on the catchy rocker 'My Feet are Set for Dancing' but the song's patented '80s sound (for goodness sakes there were even synthesizers in the mix) and radio friendly edge sounded drastically out of place on the album. The tune actually reminded me of one of Kate Bush's more commercial performances. 3.) Wat Tyler (Ralph McTell - Simon Nicol) - 5:36 rating: *** stars Nothing wrong learning a little English history while listening to a Fairport album. Tyler was the leader of a 1381 Peasants' Revolt. He led a group of rebels from Canterbury to London to oppose the collection of a poll tax and to demand economic and social reforms. While the brief rebellion enjoyed early success, He was killed by officers loyal to King Richard II during negotiations at Smithfield, London. The lesson I take away - Never trust royalty !!! YourTube has a nice performance recorded at the band's AUgust, 1986 appearance at the Cropredy Festival: Fairport Convention : Wat Tyler (live Cropredy 1986) - YouTube 4.) Head in a Sack (Dave Whetstone) - 4:23 rating: ** stars Richard Thompson on lead guitar ... One of the album's most conventional rock-oriented tune. Normally I approve of Fairport's nods to more conventional rock material. 'Head In a Sack' left me lukewarm. The song wasn't particularly catchy, or memorable. You can judge for yourself via this 1986 YouTube link: Fairport Convention : Head In A Sack (live 1986) (youtube.com)
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Genre: folk-rock Rating: *** (3 stars) Title: House Full Company: Hannibal Catalog: HNBL-1319 Year: 1986 Country/State: UK Grade (cover/record): G / VG Comments: crease on right side Available: 1 Catalog ID: 4855 Price: $15.00
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Recorded at a series of three September 1970 L.A. performances,
"House Full" was essentially a remix of the earlier "Live At the Troubadour". With
Sandy Denny gone, Swarbrick and Thompson were left to handle vocals. While the results were occasionally a bit on the ragged side (Denny was certainly missed on material such as
'Matty Groves'), the most impressive
characteristic was the fact these guys could rock out. Tracks such as the extended
'Sloth', 'Matty Groves' and the instrumentals 'Masons Apron' and 'Battle of the
Somme' were almost scary in their intensity. (Producer Joe Boyd's liner notes were also entertaining.) 1.) Sir Patrick Spens
(Richard Thompson - Dave Swarbrick) - 3:06 (side 1) 1.) Staines Morris
(traditional - arranged by Fairport Convention) - 3:44
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BACK TO BADCAT PAYMENT INFORMATION
rating: *** stars
&M executives decided to re-title and repackage the
band's sophomore release for American audiences. Subsequently released
in the States as "Fairport
Convention" (conveniently ignoring the fact that was the
title of their 1968 debut). The collection introduced former Strawbs singer
Sandy Denny to the fold (replacing Judy Dyble who went on to briefly join
Giles, Giles & Fripp). With Joe Boyd again producing, the album
also introduced a major change in musical direction. With a background
in folk, Denny's arrival saw the band move beyond original material to an
intriguing mixture that included pop (Dylan, Joni Mitchell) and traditional
folk covers ('Nottamun Town' and 'She Moves Through the Fair'). In
addition to contributing several classic songs ('Forthingay'), Denny's
crystal clear voice seemed to inspire the rest of the band to come up with
some of their best material (Hutching's 'Mr.
Lacey' and Thomson's 'No Man's
Land'). While not a great comparison, imagine Roger McGuinn and The
Byrds had they been English and you'll get a faint hint of what to expect on
tracks like their psychedelic cover of Joni Mitchell's 'Eastern Rain' and
Dylan's 'I'll Keep It with Me'. Even better; check out the stunning
Southern California-ish 'Take In Hard Time' and Thompson's 'Meet On the
Ledge'. Trying to avoid the usual dealer hype,
the results are almost magical. Note that this is one of the few
albums in my collection that deserves a five star rating. Yes, it's
that good. 
Once
again A&M marketing decided the album needed to be modified for an
American audience. The original English release cover art featuring
Denny's parents Neil and Edna posing in front of their Wimbledon home.
You can see the rest of the band sitting on the lawn behind the fence.
No idea what the American cover featuring circus elephants was supposed to
reflect. 
er
5,000 45s. Let's say that equated to 275,000 songs. Denny's
stunning 'Who Knows Where the Time Goes' was easily one of the top-10 songs
in that collection - a song that made me stop and think every time I heard
it. Before recording it with Fairport Convention Denny had
recorded a 1967 home demo and in 1968 she recorded a version with The
Strawbs. The Strawbs version was shelved, eventually appearing in 1973
on their "All Our Own Work" album (Hallmark catalog
number SHM 813). Denny's Fairport version remained faithful to
the original melody, but benefited from more of a rock oriented
arrangement. Her performance was simultaneously thought
provoking and heart-stopping, while Thompson's electric guitar accompaniment
was perfect. For someone who's been told I have the empathy of a brick, I
have to admit this song gives me goose bumps every time I hear
it. When I pass on, I'd like this to be one of the songs played
at my wake. Wherever she is, I can only hope Denny is aware of what a
gift she left behind in the form of this song.
hing about this set - even with the loss of singer
Sandy Denny and guitarist Thompson, the album was friggin' good.
Exemplified by tracks like 'The Journeymen's Grace' and 'Sickness &
Diseases' parts of the album showcased Fairport coming close to recording
outright rock and roll as you were going to ever head (okay, okay, there was
no chance you were going to confuse these guys with a conventional AOR group
...) With Nicol and Swarbrick stepping into the leadership
roles, the album offered up a surprisingly enjoyable mix of traditional
English folk ('Lord
MacIlborough'), folk inspired band originals ('Wizzard of
Worldly Game'), and more conventional
and commercial numbers ('Sickness & Disease'). While neither Nicol
or Swabrick were fantastic singers (;course neither was Thompson), once you
gave them a chance, the results weren't half bad. Swarbrick's voice
was particularly well suited to the more traditional tunes. Nicol also
deserved considerable credit for having successfully stepped into Thompson's
shoes as lead guitarist. Judging by his performances on songs like 'Wizzard of
Worldly Game' he must have spent considerable time watching Thompson. 
