People..please, no more telling me I misunderstood the Football Factory, if one more person even thi...
People..please, no more telling me I misunderstood the Football Factory, if one more person even thinks about saying it..I'm 32, I've got GCSE's in pottery..I understand sh*t British films just fine <flounces off in flurry of petticoats>
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Yes, I like Oasis, the Charlatans, Verve, Orbital et al, and I'm damned if anyone will snicker at me for my love of British folk either. Personally, those that don't have any Fairport in their music collection are missing out on some superb songwriting, musicianship and sheer entertainment.
This collection covers 7 incarnations of the famously hectic Fairport lineup and takes us from 1967 to 1972, released while working on the then as yet untitled 7th album (Nine) undoubtedly Fairports most influential and impressive period. It takes in 5 albums, and the original vinyl comes with a family tree to help make sense of it all.
Yes there are plenty of nods and arrangements of traditional folk tunes, but on the whole this album features largely original compositions from such talented tunesmiths as Richard Thompson, Dave Swarbrick and the much missed Sandy Denny. During the album we'll also have an opportunity to hear the fantastic drumming of Dave Mattacks, and sublime bass of Dave Pegg.
1. Meet on the Ledge, Fairports signature tune really, a track by Thompson that sounds as fresh and vibrant today as it did on it's first pressing.
2. Fotheringay, an absolutely beautiful Denny track, with her lead vocal accompanied by acoustic guitars a wandering bassline, and a
set of backing vocals.
3. Mr Lacey, proof if it were needed after the opening two tracks, that Fairport defy the stereotypical image of folk music. This tune grinds along with it's rock and roll swagger, and great bluesy vocals.
4. Book Song, another achingly gorgeous piece of songwriting, carried by lovely vocals and a melodic bassline, as a mournful electric guitar drifts in and out.
5. Sailors Life, unashamedly folksy, a traditional tune arranged by Fairport. A real epic, starting with a haunting Denny vocal, shimmering cymbals and a careering muted bassline. After 4 minutes of swooning the drums begin to roll, and the bassline becomes a little more insistent and we get carried along with this tale of love lost on the seas. Swarbs' work on the fiddle is exceptional, and then the guitars crash in and all hell breaks lose, relatively speaking. A thunderously rousing end to this stomping track.
6. Si Tu Dois Partir, a fun number, Fairports only charting single, although I've never quite got on with it.
7. Who Knows Where the Time Goes, another Fairport composed perrenial, a slow number, largely acoustic, with Denny's sublime vocals, a really classy and classic track.
8. Matty Groves is another traditional arrangement, and long time favourite, bass driven with a powerful lead vocal from Denny. Guitar and fiddle weave menacingly in and out of this lengthy folk-out. Taken from the perfect 1969 Liege and Lief album, which, if you only aim to own one Fairport album, make it that one. Liege and Lief was the definitive Fairport line up of Richard Thompson, Simon Nicol, Dave Mattacks, Dave Swarbrick, Dave Pegg, and Sandy Denny. Denny would leave after 'Liege' to form Fotheringay, and occasional returns would enliven an increasingly lacklustre Fairport sound.
1970's Full House and 71's Angel Delight were the last consistently good Fairport albums.
(9) Vinyl features Crazy Man Michael from 'Liege'.
9. Now Be Thankful is the first track that the impartial listener might baulk at. With Denny gone, lead vocals would be split between Nicol, Thompson and the decidedly folky voice of Swarbrick. For the neautral it is an acquired taste, but, much enjoyment can be taken from the harmonies of Now Be Thankful. Also touted as a single.
(10) Vinyl features a great medley of jigs and reels, Lark in the Morning, Rakish Paddy, Foxhunters Jig and the fantastic Toss the Feathers.
10. Walk Awhile is more of the same, very folksy in sound, but again an infectious bassline, playful fiddle and strong vocals from the entire band make it enjoyable.
11. Sloth is a melancholic delight, all minor keys and forlorn distant vocals. Builds to a great bass work out at the end, a real favourite of mine. A bit of a showcase for the band, with Thompson's fantastic guitar work another standout.
12. The Bonny Black Hare, another one that'll confirm the casual listener's worst fears about folk. A traditional arrangement, with a great vocal by Swarbrick, matched by some great work on the drums by Mattacks, and Swarb on both mandolin and fiddle.
13. Angel Delight, by 71 Thompson had left Fairport and things would never quite be the same again. There is plenty of fun to be had on the album of the same name. Angel Delight is a humourous singalong, but with choruses of 'la-li-la-la' it's gonna divide the audience. Unashamedly folky.
14. Bridge Over the River Ash, a Traditional instrumental that puts the band through their paces, nice bass from Pegg and Swarb pitches in on the fiddle.
15. John Lee, taken from the patchy 'concept' album Babbacombe Lee, now there are two things to strike fear into any sane person. Folk and Concept Albums. Lacks the subtle influence of Thompson or Denny.
16. Breakfast in Mayfair, lumbered with some rather clunky lyrics and Simon Nicol's unconvincing lead vocals. Features a nice melody though and somepleasant guitar work.
17. Hanging Song, the third track from Babbacombe Lee, and probably the best track of the album. Swarbrick provides a typically folky lead vocal, which redeems the lyrics to a certain extent.
18. The Hen's March/Four Poster Bed, taken from the mostly awful Nine, and quite a toe curling jig even from my perspective. Worse was to come with 'Rosie' a virtually unlistenable version of Fairport. The band would switch personnel pretty consistently from here onwards, occasionally equally former glories, and in more recent times they've produced some very good albums, but sides 1,2 and 3, or tracks 1 to 14 represent the best years of Fairport.
Summing up, newcomers can't help but be drawn in by the craftsmanship of tracks like Fotheringay, Meet on the Ledge, Matty Groves, but many might find the more traditional elements difficult to swallow. For the early years think less Steeleye (shudder) Span and think more The Byrds, Bob Dylan and perhaps Crosby, Stills, Nash and maybe even Young. Just remember that at the time John Peel was busy championing their cause.
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Oh I love this group !! Just hearing their first record with the (unknown female) singer ... Time will show the wiser. Of course I prefer the period with Sandy Denny. Fotheringay is one of the best records ever in Folk. As the live Album 1974 with Mrs. Denny. I saw them in 1998 in Frankfurt on a concert in plain nature .... Tomas Great Review
buzios 04.09.2003 15:16
I have had this album since I was about 13 (and that is a long time ago) and I still love it. I have been meaning to get it on CD. It is a shame that Crazy Man Michael is missing from the CD.
JoePoirot 28.01.2003 22:20
Sorry for the quibble but "The Hens" etc is on "Rosie" which is a patchy album not "Nine" which is actually the strongest non-Sandy Denny effort in my view.
No one collection could really do justice to Fairport's work - difficult to justify anything from "Liege and Lief" out from example. Steeleye Span, mentioned in some of the comments, were also a good band but really the Fairports were untouchable in their genre.
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