FAIRPORT CONVENTION

One of the most famous English folk bands of the 20th century, FAIRPORT CONVENTION got its start in the London area in 1967 formed by guitarists Richard Thompson and Simon Nicol along with bassist Ashley Hutchings and drummer Shaun Frater but like many bands of the era experienced a serious of lineup and stylistic changes before latching onto a sound that would propel them into the limelight. The band spent its first year primarily existing as a folk band inspired by the American folk rock scene with Bob Dylan and Joni Mitchell as the primary influences as well as finding a lineup that would suit them.

After settling on the new drummer Martin Lamble who also played violin along with lead vocalists Ian Mathew MacDonald and Judy Dyble (who played autoharps, recorder and piano), the first rendition of FAIRPORT CONVENTION was born and the band recorded its first self-titled album in late 1968 and released in the summer of 1968. At this stage the band was also extremely influenced by Jefferson Airplane and delivered a debut album that is sort of the anomaly in its large canon that would follow the very next year with the arrival of Sandy Denny on vocals and amazing trilogy of albums that dominated the year 1969. Like many 60s debuts, FAIRPORT CONVENTION released an album that featured 12 tracks with just less than half being covers of artists like Joni Mitchell, Emitt Rhodes, Bob Dylan and Jean Glover.

Despite the cited influences, the album also featured a West Coast sound that involved some of the pop musical styles that spanned the late 1950s and early 1960s. In fact the debut album showcased an array of styles as the band tried to latch onto various genres which makes it a bit eclectic sounding as well as sounding a tad unfocused but no matter how you slice it, the performances are actually quite brilliantly performed even if the album sounds more like a collection of various tracks strewn together in a compilation format rather than an album proper. The album begins the the guitar-dominated "Time Will Show The Wiser" and showcases Richard Thompson's significance as the guitarist-in-chief who would lead the band into the big time. "I Don't Know Where I Stand" finally sees Dyble taking the role of lead vocalist and provides a more standard 60s pop tune formate. "If (Stomp)" takes on a more country rock vibe with a touch of bluegrass.

As the album skips around stylistically, "Decameron" features Dyble in a classic vulnerable female soft voice narrating a classic love reject theme although it takes on a bit of a Renaissance musical vibe. "Jack O' Diamonds" adopts a US West Coast psychedelic pop sound that warrants the Jefferson Airplane comparisons quite well. The super short "Portfolio" showcases Dyble on the piano and one of two lyric-free tracks on the album. "Chelsea Morning," the Joni Mitchell cover jumps back into the folk rock with a catchy melody and a confident Dyble delivering her classic vocal style with a greater sense of bravado than her softer timid tracks. "Sun Shade" delivers yet another stylistic approach sounding more like a pop jazz affair from a nice coffee house somewhere in NYC. Shapeshifting once again "The Lobster" enters Grateful Dead territory with trippy guitar parts only kept a bit Medieval sounding with Dyble's recorder.

"It's Alright Ma, It's Only Witchcraft" takes on a swanky club jazz style only with the feistiest rock guitar on the album. "One Sure Thing" showcases Dyble lamenting her lost love in fine melodic form while the closer "M1 Breakdown" offered a bizarre mix of mandolin, acoustic guitars and a jew's harp in a style that reminds me of some of the antics from Led Zeppelin III only years before it was released. Sort of that "Bon-Y-Aur-Stomp" vibe only truncated into a 1 1/2 minute hoedown. Later editions feature bonus tracks which are just as worthy to the album with an equal calibre. Initially the album wasn't released in the US so the following "What We Did On Our Holidays" was released in the USA as a self-titled album thus creating modern day confusion. Why did record labels do this nonsense back then? After this album both Judy Dyble and Iain Matthews would leave the band and FAIRPORT CONVENTION would regroup and form their classic lineup.

While many write this debut off as a mere curiosity, for my personal tastes i actually quite adore it. Even though many of the tracks are covers, the band made them all their very own and were wise enough to choose more obscure songs that weren't widely known from the artists they did cover. Dyble's unique vocal style was actually quite pleasant as she showcased a wide variety of moods and singing styles that suited the music quite well. In fact i wish she would've been the vocalist on all the tracks. Dyble was also famous for knitting dishrags in concert when Ian MacDonald took over the vocal duties. The album is eclectic but everything flows together quite well and the musicians are already at the top of their game at this stage. This is actually album i don't ignore at all as it is as easily revisited as the other classic albums that are much more revered from this point on. All the aspects that made the band great were already present and although not all members would stick around, they added their unique stamp on a brief period of the band's origins. To me this is an excellent album.

Rising For the Moon was a last roll of the dice for Fairport Convention; they'd got Sandy Denny back, giving a welcome additional dimension to the band which had been missing since Liege & Lief (they'd done no less than five albums between that and this without female vocals at all), and they shifted style accordingly, moving away from the comparatively straightforward Brit-country of Rosie and Nine in favour of a taste of their classic electric folk approach comprehensively updated for the mid-1970s. In short, it was their big bid for a commercial breakthrough of the sort which their offshoot, Steeleye Span, had already accomplished.

On that level, it didn't work; it found its way into the UK album charts, for sure, but nowhere near the level that Steeleye had been accomplishing with albums like Now We Are Six, Commoners' Crown, or All Around My Hat, and after peaking at number 52 it faded away. And to some, the classic era of Steeleye Span faded away with it. Sandy Denny left again and after putting out her final solo album (Rendezvous) would die tragically young, perpetually closing the door on further reunions.

The band staggered on, with further departures hitting the lineup, and after knocking out Gottle o' Geer - one of those contractual obligation albums where the artists can't even be bothered to sound enthusiastic - they would sign to Vertigo, producing a couple of releases so tepidly received that eventually the label bought them out of their contract rather than insisting on them producing the four studio albums they'd signed on for. Patchy reunions here and there led to the group eventually re-coalescing, but to some listeners the magic had gone away, at least as far as their studio releases went, and it's certainly the case that none of their latter-day albums have really seemed as musically important as their run from the debut to this.

So, even though strictly speaking this album wasn't the end for Fairport Convention or Sandy Denny, it's hard to listen to it now without feeling a sense of finality in the air. None of the participants knew it would be the last time Sandy would grace a Fairport album - indeed, everyone was hoping that it would be quite the opposite - but as a listener, knowing that it is only enhances the moody, melancholic, nocturnal atmosphere of the album.

Stylistically speaking, this sounds a lot like Steeleye Span - with the folk-rock dial turned closer to rock than was typical for Fairport Convention, and both the "folk" and "rock" sides of that equation sounding more like Steeleye's approach to those than Fairport. It's a subtle distinction, not least because Steeleye Span started out by building on the foundation laid by Liege & Lief, but if you compare the different routes Steeleye and Fairport's music took in the intervening six years or so, this feels more like the product Steeleye's musical evolution than it does a direct followup to Rosie or Nine.

It might be an imitation, but it's a damn good one - as you'd expect from musicians who understood the roots of this particular folk-rock sound better than anyone, because they had a direct hand in laying those roots to begin with. If this is the end of Fairport's golden age, this is as good a send-off as could perhaps be expected under the circumstances - and is certainly a big step up from Nine.

Fairport Convention's ninth album doesn't exactly put its best foot forwards; combining an unimaginative title with a zero-effort cover, you'd have every reason to expect to hear the band phoning it in when you put it on.

As it stands, though, I actually think it has a mild edge on its preceding album, Rosie. It helps that the group seem to be more unambiguously committing to the sort of Brit-country approach which they'd tested in a slightly lukewarm fashion on Rosie.

Is it the style listeners typically look to Fairport Convention for? No, not really, but it's an interesting attempt at something related but different and the band at least seem to have a bit more enthusiasm and verve this time around.

After Fairport Convention rekindled their ambitions with "Babbacombe" Lee, it's unfortunate that they should have followed it up with such an unambitious release as Rosie. It's not that it's flat-out bad, it's just that it's a little bland - why, even the cover art suggests mediocre wallpaper in a mid-range suburban cul-de-sac house. The performances are good, but the material feels awfully simplistic.

At its best, the simplicity feels like part of the point - Fairport almost hitting on a "Brit-country" style. Nonetheless, it still feels like their weakest effort since their self-titled debut album, but whereas that falls slightly short due to the band not having hit on their sound yet, Rosie falls down because of the band getting just a little too comfortable with their sound.

After several albums hit by lineup shifts, "Babbacombe" Lee came amidst a period of comparative stability for Fairport Convention, with the same four members recording this as had put together Angel Delight. Whilst the previous lineup had seen them not progressing their music that much, bar for gaining a little more confidence as vocalists, this finds them recovering their ambition, undertaking their first narrative concept album.

There's a touch more rock in their folk-rock formula this time around (usually it leans much more towards folk), perhaps as a consequence of them taking a deliberate "rock opera" approach, and by and large the band do a good job of putting together the compelling narrative of "the man they couldn't hang", with solid original material and well-chosen traditional songs putting together the narrative.

Consisting of five clutches of songs - one for John's boyhood, one for his naval days and him finding employment as a household servant, one to cover the discovery of the murder for which he was accused, one for his trial and imprisonment, and one to tell the tale of how his failed execution led to his sentence being commuted to life - the album reveals that despite any fears to the contrary, Fairport Convention still had something to contribute in the world of British folk rock in the early 1970s, despite acts like Steeleye Span having largely gained more momentum.

Just as Full House saw Fairport Convention adjusting to the departure of Sandy Denny, so too did Angel Delight see them adjusting to the departure of Richard Thompson - though he does get writing credits on The Journeyman's Grace and the lively album closer, Sickness & Diseases.

To a certain extent, this is Full House Part 2, with the male vocalists continuing to work on stepping into the gap left by Sandy Denny, and their increased confidence in this realm helps compensate for a comparative lack of musical development over that album. If you enjoyed Full House and fancy more with a similar sound, this won't disappoint - but if you're disinterested in Fairport without Sandy Denny, then this is unlikely to win you over.

First of all I would strongly urge anyone wanting just one album by Fairport Convention to get the recently released Japan double CD which included ALL the tracks off the original double LP.

This album is a perfect introduction to this great band's first era on Island Records and as close to a one-stop-shop as is available.Not all their albums are must-have Classics and this album does an excellent job of cherry picking their most important and enduring tracks.Even with the omission of the "Medley" and "Crazy Man Michael" (both from Liege and Lief-maybe the CD compilers assumed even the casual fan would buy that album anyway- I digress) the album is an immensely enjoyable listen.get this album Liege and Lief and you have pretty much all you need. Well maybe Angel Delight too or the first Folk Rock Opera that is Babbacombe Lee.....

Five stars

"Let's Split"

With all the original stars (Sandy Denny,Ashley Hutchings,Richard Thompson) gone it would be fair to assume that Fairport Convention's day would be numbered ar at least the quality would drop dramatically.As it turns out neither happened and The band simply carried on a a four piece with the addition of Dave Pegg on bass. I am going to say straight up that as far as I am concerned, Dave Pegg is a vastly superior bass player to Ashley Hutchings.I will also say that Simon Nicol is a most underrated guitarist and singer.Suddenly the four piece line-up are up to the task.

I might raise the ire of other Fairport Convention fans but much as I love the sheer bravura of Liege and Lief, I actually think Angel Delight is a far better production overall.The performances are tighter, the arrangements leaner without losing their inherent sophistication and the recording is cleaner.They are also more concise and punchier -no drawn out dirgy work outs here.I am not going to give a track by track assessment- just an overall comment that like preceding albums, this album comprises a hugely enjoyable mix of Rocked-up instrumental medleys of Traditional tunes , some elaborate arrangements of traditional songs and a few excellent originals. I really love this album

I know I am going against the grain with this one but I am giving this one five stars

"A holiday,a holiday and the first one of the year"

In the same way that King Crimson effectively set the template for Progressive Rock with their debut, Fairport Convention effectively set the template for English Folk Rock.It is almost impossible to overstate just how important and influential this album was when it was released.Fairport had dabbled with electrifying English Folk on their previous album with A Sailor's Life". However Leige and Lief almost entirely comprises English Folk songs and tunes with the exception of three songs all of which were played in the same Folk-Rock style.

Particularly impressive is the way the group presents the music.For example with the second track "Reynardine", rather than simply providing a rock beat they provide a haunting atmospheric backing. The first real "rocking" traditional song is "Matty Groves" which features some wild fiddle playing by Dave Swarbrick and the end of the song leads into an energetic instrumental workout.This track is probably the best known track on the album and is still performed over fifty years later.The other "Epic" is Sandy Denny's rousing version of the Scottish song"Tam Lin"signing all twenty verses.

The only purely instrumental track is a medley of traditional tunes including "Rakish Paddy, "Foxhunter's Jigs and Toss the Feathers all performed with fiddle plus electric guitars and bass and the all important full drum set providing the all important rock beat.If any track can claim to "invent" English Folk Rock" it is surely this track.I simply cannot think of an earlier recording of traditional tunes being presented like this.I do not think it would be exaggerating to state Fairport invented English Folk Rock.

Even the originals like the album opener Sandy Denny's "Come All ye" are played in a similar Folk-Rock style so blend in perfectly with the traditional numbers.

Production wise , I would be the first to admit it is a little flat in places and I actually think they improved as a playing entity on later albums especially "Bonny Bunch Of Roses" and "Tippler's Tales" but this album is where it all really began.Neve the less it is still an enjoyable album all these decades later.

A solid five stars

— First review of this album —

Before becoming one of the leading acts of the British folk rock movement of the late 60's and absorbing a great deal of their repertoire from the British traditionals, Fairport Convention were heavily oriented to the contemporary American folk rock. Founded in 1967, the group at first had a setlist dominated by Bob Dylan and Joni Mitchell, and a sound that earned them the nickname "the British Jefferson Airplane". Vocalists Judy Dyble and Iain Matthews (whose original name happened to be Ian Matthews MacDonald, ie. almost the namesake of the person that was introduced to Giles, Giles & Fripp by Judy Dyble, thus helping the birth of King Crimson) joined a bit later when it was time to record the eponymous debut album. Both songs on this single are from that album released in June 1968.

'If (Stomp)', co-written by MacDonald with guitarist Richard Thompson, has a country feel not very different from the style of Matthews Southern Comfort that he founded after leaving Fairport Convention in 1969. This light-hearted song features male vocals only. There's a slight humorous air comparable to the lesser Beatles songs such as 'Octopus's Garden', although it lacks the similar bemusing happiness and strong melodies. Not very interesting, to be honest.

'Chelsea Morning' was recorded by its writer Joni Mitchell for her second album Clouds (1969), so this version preceded that. Indeed the sonic reference to Jefferson Airplane is justified. Judy Dyble sings the lead, occasionally replaced by treated male vocals, and the playing has a psychedelic edge. Some traffic sounds are added at the end.

Judy Dyble (1949-2020) was a charming artist, but it was her replacement, lovely Sandy Denny (1947-1978) who really made Fairport Convention what it was to become. There are some better songs on the debut album, so two stars will do for this single.