Fairport Convention Albums (33)
'Who Knows? The Woodworm Archives Series, Vol. 1'
Release Date 2/14/2005
Tracks 13
Label Talking Elephant
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What The Critics Say
For Sandy Denny fans, anything involving her is worthwhile, and fewer and fewer scraps turn up. This, however, found as Woodworm Studios was being cleared, is a lo-fi gem. Recorded at a gig in 1975, it presents Denny in wonderful form, with Fairport on tour after releasing Rising for the Moon (a vastly underappreciated disc). There's plenty of the familiar in the set, be they Fairport songs or Denny originals, and the band is in good form, dashing around curves just prior to falling apart -- which would come not long after. The sound is bootleg quality, but the performance more than makes up for that. There's a passion to Denny's voice that the studio never captured, and a sense of the blood being up, with a new drummer (Bruce Rowland) and Jerry Donahue wringing amazing passages from his guitar -- he's especially good on "Sloth." But newer and vintage material is equally fiery, with "One More Chance" a standout and "Rising for the Moon" far more beautiful in this live version. And, of course, they close with the anthemic Who Knows Where the Time Goes?" Given the sound quality, this isn't for everyone, but all Fairport and Sandy Denny fans should grab it fast. ~ Chris Nickson, All Music Guide
'Over the Next Hill'
Release Date 8/16/2004
Tracks 11
Label Matty Grooves
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What The Critics Say
This album comes at a time of big changes for Fairport, with their own new label, and a face into the future, as the title implies. That's all brought a new attitude to the music, with a slightly rawer, more rocking feel, as on "Wait for the Tide to Come In," where Simon Nicol's electric guitar work simply sparkles. The oldest member of a long-running band, Nicol even takes lead vocals on a reworking on their 1969 hit "Si Tu Dois Partir," which even manages to incorporate the percussion break from original drummer Martin Lamble, thanks to the magic of technology, and thus connects the present to the past in more ways than one. Elsewhere the songs are of a consistently high standard, with Chris Leslie's "I'm Already There" a standout. In a couple of places the music veers toward that comfortable middle of the road space Fairport's carved out over the last few years, but they seem to jerk themselves away before becoming too complacent about the music. And when they do veer into instrumental work, "Canny Capers" is the equal of anything they've managed in the past, the twists and gyrations of its lines both daunting and entertaining. There's only one traditional song on this disc, "Winter Wassail," with its small surprises that proves great satisfaction. So what does this say about Fairport for the future? Other than they'll still be there, and that they're in the process of taking a long hard look at themselves, not a great deal. But if this new attitude and grit persists, there'll be plenty of excellent music ahead. ~ Chris Nickson, All Music Guide
'Before the Moon'
Release Date 7/9/2002
Tracks 20
Label Universal International
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What The Critics Say
So titled because, chronologically speaking, it immediately predates 1975's Rising for the Moon album, Before the Moon is a two-CD recounting of two nights in Denver, CO, in 1974, with Sandy Denny back in the Fairport fold for the first time in five years. Historically, then, it ranks as one of the key documents of the band's 1970s history, both introducing a couple of songs from the band's still-unrecorded next studio album to the set (the title track and "One More Chance"), and highlighting one of Denny's most powerful solo recordings, the now not-so-aptly titled "Solo." This particular tour has already received one live album, 1974's Live Convention. It must be said, however, that in terms of the actual performance, Before the Moon beats it hands down -- only the somewhat muddy sound quality, and some atrocious typos in the track listing ("Matty Grooves") let the side down, but both are largely cosmetic distractions. The epic "Matty Groves" (correct spelling) and "Sloth" are both among the group's career-best renderings, while another Denny song, "Like an Old Fashioned Waltz," makes one wish there was a formal Fairport studio take of the number. Elsewhere, Dylan's "Down in the Flood" is a joyous explosion, and the instrumental numbers do nothing less than make you wish you'd been there on the night. You probably weren't -- but this collection does make a great substitute. ~ Dave Thompson, All Music Guide
What The Critics Say
Neither fish nor foul, Fairport Convention holds a position somewhere between traditional English and contemporary Celtic music. Although mostly acoustic, electric bass and piano make appearances, and while the bandmembers enjoy the folk songs of yesteryear, they also pen new material. The band's approach and style also separate them from the folk-rock of the Richard Thompson/Sandy Denny era, which rocked quite a bit harder. XXXV celebrates the band's long history by dipping into a few old favorites like "I Wandered by a Brookside" and "The Deserter." The group plays as a collective unit, offering a nice blend of mandolin, fiddle, and guitar along with energetic percussion. There's a relaxed version of "The Banks of the Sweet Primroses" and a stately take on Thompson and Dave Swarbrick's "Now Be Thankful." Anna Ryder's vocals add a nice touch to "The Crowd," and Ian Anderson offers some fancy flute work on "Portmeirion." Interestingly, this latter instrumental reminds one of other "new acoustic" compositions by outfits like New Grange, another band on the Compass label. While all of the selections are performed competently and professionally, a certain sameness seeps into the proceedings halfway through the album. It's as though the music has become too safe, too predictable. Fans of Fairport's recent albums, however, will enjoy sitting down with a pint of their favorite beverage and taking a long look back at the band's illustrious history. ~ Ronnie D. Lankford Jr., All Music Guide
What The Critics Say
Wishfulness Waltz is a reissue of the 1997 Fairport Convention album Who Knows Where the Time Goes?, with four bonus tracks recorded at that year's Cropredy Festival. 1997 marked the 30th year of Fairport's existence, and the band began yet another chapter in their continuing saga with a new studio album and a couple of live tracks. Enter fiddle/mandolin/guitar player and Albion Band alumnus Chris Leslie. Leslie's "John Gaudie" leads off; a mid-tempo, vintage 1973-type rocker featuring the two violin players and Leslie's dulcet tenor. Fellow fiddler Ric Sanders composed "The Bowman's Retreat" as a "welcome aboard" gesture in which each bowman gets to showcase his considerable talents along with the other members. It is debatable whether Fairport has ever rocked as blatantly as they do on "Spanish Main," which actually has Simon Nicol and Leslie trading incendiary guitar licks. Likewise, "Dangerous" further explores that aggressive edge rarely visited in the band's later years. "Here's to Tom Paine," a Steve Tilston song, is a posthumous salute to that embroiled English writer/American revolutionary. "Golden Glove" is a fairy tale of love and romance in which Leslie supplies some sure-footed mandolin playing. This album's title asks the obvious question, but given Fairport's dignified and productive aging process, who cares? The four bonus tracks are in keeping with the two live tracks that concluded the original version of the album, songs from Fairport's past with past members taking the lead. "Poor Will and the Jolly Hangman," featuring Richard Thompson and Dave Swarbrick, was intended for the 1970 album Full House; "Rosie" is Swarbrick's showcase from the 1973 album of the same name; "Jack O'Diamonds," again featuring Thompson, dates back to the 1968 self-titled debut album; and "Come All Ye," with an uncredited Vikki Clayton standing in for Sandy Denny, led off 1969's Liege & Lief. ~ Dave Sleger and William Ruhlmann, All Music Guide
'The Wood and the Wire'
Release Date 1/24/2000
Tracks 14
Label Woodworm
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What The Critics Say
There's no doubt that Fairport Convention chose the right man for the job upon Martin Allcock's departure after Old-New-Borrowed-Blue (1996). His replacement, Chris Leslie (Whippersnapper and Albion Band), has assumed an obvious leadership position within this legendary band. He either wrote or co-wrote (with writing partner Nigel Stonier) nine of the selections on The Wood and the Wire and sang lead on seven cuts. With a voice that resembles onetime Fairport member Ian Matthews, a fiddle and mandolin style that recalls one of the most beloved Fairport alumni Dave Swarbrick, and a songwriting style that conveys folk imagery in the inimitable Fairport manner, Leslie seems to have been part of this "moveable feast" for much longer than three years. While a fiddler by trade, Leslie relinquishes that instrument for most of this album in favor of the mandolin and bouzouki; the role of longtime violin player Ric Sanders has been unaffected as a result of Leslie joining the band. Fairport Convention has long possessed the knack of selecting songs from outside sources (Bob Dylan, Ralph McTell, Huw Williams, et al.) and transforming them into classics of their own. On this album they appear to continue the trend with three choice songs -- "The Heart of the Song" by Peter Scrowther, "Western Wind," a traditional piece brought to their attention by Susan McKeown, and Steve Tilston's "Rocky Road," all sung venerably by guitarist Simon Nicol with Leslie and bassist Dave Pegg sharing the lead on the final selection. Drummer Gerry Conway appears with the band for the first time since 1973's Rosie. ~ Dave Sleger, All Music Guide
'Rhythm of the Times'
Release Date 9/13/1999
Tracks 13
Label Delta Mid
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'Shines Like Gold'
Release Date 1/1/1999
Tracks 13
Label Eureka Music
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'Who Knows Where the Time Goes?'
Release Date 1/1/1997
Tracks 12
Label Woodworm
See Album Tracklist and Review
What The Critics Say
While they are generally considered a British folk-rock group, the Fairport Convention's influence on the post-'60s Celtic rock movement is noteworthy as well. In 1969, they (along with fiddler Dave Swarbrick) proved that amplifiers, a rock rhythm section, and Irish jigs like "Rackish Paddy" and "Toss the Feathers" are very compatible. Their Celtic leanings were most pronounced during Swarbrick's stint (1969-1979), and young, traditionally-based groups like Ireland's Tamalin and Scotland's Prodigals are acknowledging Fairport's early efforts a generation later. 1997 marked the 30th year of Fairport's existence, and the band began yet another chapter in their continuing saga with a new studio album and a couple of live tracks. Exit multi-instrumentalist Maart Allcock and enter fiddle/mandolin/guitar player and Albion Band alumni Chris Leslie. Not at all apprehensive about their newest member, Leslie's "John Gaudie" leads off the new album -- a midtempo, vintage 1973-type rocker featuring the two violin players and Leslie's dulcet tenor. Lest anyone conclude, upon hearing 1995's acoustic album Old-New-Borrowed-Blue, that Fairport's rockin' days are a thing of the past, a few surprises lie awaiting. Fellow fiddler Sanders composed "Bowman's Retreat" as a "welcome aboard" gesture in which each bowman gets to showcase his considerable talents along with the other members. It is debatable whether Fairport has ever rocked as blatantly as they do on "Spanish Main," which actually has Nicol and Leslie trading incendiary guitar licks. Likewise, "Dangerous" further explores that aggressive edge rarely visited in recent years. Fairport Convention is better known for their milder renderings of historical accounts and legendary tales. "Here's to Tom Paine," a Steve Tilston song, is a posthumous salute to that embroiled English writer/American revolutionary. "Golden Glove" is a fairy tale of love and romance in which Leslie supplies some sure-footed mandolin playing. Not to be taken for granted, the rhythm section of Pegg and Mattacks has always been among the most durable and sought after in rock and folk-rock. This album's title asks the obvious question, but given Fairport's dignified and productive aging process, who cares? ~ Dave Sleger, All Music Guide
