It is also one of the most progressive Fairport albums and a great place to start if you want to know what Fairport Convention is all about, and also what British-Electric-Progressive-Folk-Rock in general is about.
A very good Folk rock album! Denny formed her own group, named after her first Fairport song Fotheringay, feeling she didn't have the songwriting space enough and sort of returned towards a more US folk in her later solo album after a second run with Fairport in the mid 70's. So he was replaced by Dave Pegg on bass much later seen in Tull and the group went out as a quintet and produced the Full House album, the last to be considered a classic Fairport, which I find a bit unfair given Babacombe Lee and to lesser extent Angel delight is still to come.
This album's name is dedicated to their communal housing, a derelict pub the band had just moved in, creating a lively atmosphere in the premises. And some of that spirit seeped in the songwriting and general preparation of the album, and despite losing two members, you'd never tell from listening to FH. Indeed if you don't Denny's voice anymore, her absence is quickly dealt away with by instilling a power, not yet heard in their albums so far, Starting on the average sing-along Walk A While I tend these are cheap songwriting , followed by a now-traditional jig medley Dirty Linen I could do without the jig medley AND its titlethe album starts rather average until The album's highlight you guessed it ;- is Sloth a 9-mins mini epic that FC does so well, in line with many Sailor's Groves Lin moments.
In either case with or without Poor Will, the original album stood as yet another good Fairport album, but it's clear that there was a "FC album' formula jig medleys and mini-epics that was clearly wearing thin.
Indeed FH is testimony of FC's incredible depth in terms of songwriters after having lost so many members, and lead performers, but to this writer, the FC formula is turning rather weary and bored outside the few exciting moments writer yours truly that is lucid enough to still recommend you this album as one of the band's best. The male vocals are not very strong though and I greatly miss Sandy Denny if I have to be honest.
The mood of the album really suffers from the very traditional folky edge. If you like traditional folk this might suit your taste but I dislike this kind of music. The musicianship is good but as I mentioned above the lead vocals are really weak and it sounds like they needed a bit more practice before they should have recorded them.
I was really expecting more than this from Fairport Convention. Side 1 of the original vinyl is the more promising, with the excellent "Walk Awhile" kicking things off, brandishing an arsenal of instrumentation in an ensemble singalong. It's not bad but not very entertaining or memorable, and certainly not progressive in any real sense. For the rest, only "Sir Patrick Spens" is especially noteworthy, reminding me of what the now departed Hutchings would do with the Albion Band.
Fairport Convention possessed all the qualities necessary to assume the mantle of British folk rock supremacy, and in the view of many they achieved this end. Yet even the oft regarded classic "Full House" has plenty of "room" for improvements. First and foremost I'd like to praise Dave Mattacks. Between and he was, in my opinion, the best drummer in rock music.
You can listen to every Fairport album, and to every session he played - it's always mesmerizing to hear these little fills, the breezy cymbals, the little counter-rhythms and the gentle punch of his drums. Sadly, his session playing became a lot more simple in the mids - this might be the reason why some people criticise his playing - but what you get on this album is rhythmic perfection.
I never managed to listen to a whole album before while only concentrating on the drums - in this case it works! So, which types of music do you find here? Fairport Convention do everything to actually insert the rock instruments in a way that they don't sound like simple sound effects, but rather like a careful reformation of the old style.
And I don't mean that Fairport Convention were always successful in doing that. Of course, Dave Mattacks plays one of the better boring rhythms, at least many other drummers did a worse job, but this piece just isn't convincing. But it's been a b-side of a single, and as such it doesn't hurt anyone. The dance stuff on the original album is in fact quite a lot better, and that's how it should be.
Dirty Linen lacks a constant drum rhythm and hence allows Dave Pegg to play the melody of this rapid jig on the bass guitar along with the violin and the guitars.
Everyone in the band actually plays the same thing simultaneously, but I've rarely heard such a tribal and 'Nordic' power Album) a jig. Dave Mattacks also appears in this track, but plays some bodhran in the beginning and the drum kit inbetween, but only for a few measures each. Every stroke he sets in this album has its purpose, no drum stroke is superfluous, and that's one of the reasons why this album is the band's ultimate masterpiece. Flatback Caper is really really long, longer than most of the dance medleys, but it's so damn entertaining thanks to the tricky rhythm changes and Dave Pegg's and Dave Swarbrick's duelling mandolins; it's real tight and it simply rolls on and on without even coming close to boredom or narcissistic noodling.
But the whole attitude of the band, and attitude means lyrics, singing style and all those things which you instantly hear without knowing the band's history, is far away from all that US truck driving stuff.
Firstly, there are Thompson's typically cryptic lyrics. They're no classic poems, they rather depict conversations or are narratives in metric form, and they are always shaped by the stream-of-consciousness-like invented surnames and places and the strange metaphors. They're rustic and dark, but hallucinating at the same time. Secondly Simon Nicol, Dave Swarbrick, Dave Pegg Album) Richard Thompson listed up chronologically may sing one stanza each and move into harmony vocals in the stanzas, Sloth - Fairport Convention - Full House (Vinyl.
And these harmony vocals are as mesmerizing as the legendary Watersons and Young Tradition material, but in a very unique way. And the muffly sound of Liege and Lief has disappeared, too. The violin finally sounds like a real violin, and the drums are crystal clear as well. I absolutely love these busy little drum fills before each stanza, as to be heard around The piece is already a worthwhile listen because of this bonnie little part; in fact, the jolty little instrumental parts are derived from the British folk song King Henryas performed by Martin Carthy on Sweet Wivelsfield.
Sloth has often been described as a British response to the Allman Brothers and Grateful Dead, a jam tour de force around the weary lament of a soldier in the state of war. Usually I'm quite cautious about jam pieces because they frequently are a shell without content, but this one avails itself really much of the sophisticated dynamic mounting and, of course, dismounting of the solos.
The two lead instruments are, needless to say, Swarbrick's violin and Thompson's electric guitar. And where A Sailor's Life was still quite formless in its lengthy instrumental part, the two soloists now know how to interact, throw short melodies at each other and braid the violin and guitar improvisations to a forceful unit.
And the vocal part isn't only the vehicle for the jam, but a fully working song which appears in the beginning, in the middle and in the end of the whole track - augmented by beautiful harmony vocals around the alternating lead vocals of Thompson and Swarbrick. In concert, the dynamic contrast would become even greater because in the second third of the song the band would calm down from a blastbeat section in the vein of Led Zeppelin yes, Dave Mattacks was able to play like a madman when he was jamming with the right people to a silent pizzicato part in which the rhythm was barely recognizable.
The studio version is comparatively tame, but has an uncongested and lively sound which is simply plain listening pleasure. For some really inscrutable reason Thompson deleted this piece from the album at the very last possible moment in I don't know why he did that, perhaps because it was his first lead vocal ever, but thankfully it appears at its original place on this reissue.
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Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Having seen close approximations of all of them at Cropredy, Fairport live in any of its incarnations seems to have been an awesome thing.
But this was the noblest Fairport of them all, in terms of sheer virtuosity and jaw-dropping chops -- and this album documents that to the hilt. This would be a 5-star album except that the sound is a bit thin and dry If the mobile truck had been there for some of the moments mentioned in the liner notes, it would be about a 6-star album. But "Sloth", at something like twelve minutes is simply incredible.
One person found this helpful. Poor Recording. Fairports live in and around were an awesome experience despite the personnel changes that seemed to be the only constant aspect of it's existance. While the personnel changed the quality of the musicians remained high and the focus shifted. Richard Thompson blossomed and matured helped by the interplay with Dave Swarbrick. The vocals may have taken a backseat after Sandy Denny but then there were two lead players instead.
I LP not wish to add much to the other reviews of this album about the individual tracks save for to mention the development of Matty Groves into what Ric Sanders came to call Fairport Convention plays Pink Floyd track.
Here at a measley 3. Sloth remains the outstanding track of the album as others have said. The performance at the Troubador is excellent but you cannot say that about the recording. For a full sounding band the recording is weak both in volume and quality.
There are some excellent quality bootleg recordings out there from this tour which put this official version to shame. If anyone out there is listening perhaps a clean up job with extra tracks could be done to rectify this situation. Given the number of shows that the band played around this time, there must be other tapes available to get a true representation of Fairport live at this time.
This, like Full House, is essential Fairport Convention. Full House is a fantastic album, from the first note of "Walk Awhile" to the last note of "Flowers of the Forest".
I really dig the instrumental "Flatback Caper" made up of different traditional tunes as is "Dirty Linen". I played this album almost every day for a year back when I first got it. Interesting to note that FC Sloth - Fairport Convention - Full House (Vinyl performing "Sir Patrick Spens" when Sandy was still with the group, and that "Flowers of the Forest" was played at her funeral, by a lone piper.
The live House Full is awesome as well. If you like Full Houseyou need this. MikePNov 26, Location: Great Commonwealth of Massachusetts. I was listening to Sandy Denny's "no more sad refrains" comp this morning and thought that they should have put Fairport's version of "the ballad of easy rider" onto Full House to help minimize the shock for buyers expecting to hear Sandy.
The song was recorded during the "Liege and Lief" sessions and would have fit well onto Full House. It is a great cover. Full House is a fine album, but I was left wanting to hear more Sandy thank god for Fotherigay.
Pete PumaNov 26, Location: Akron, OH. Loved Full House when it was first released, love it today. Here's a band with no lead singer, making up for it with jaw-dropping musicianship. I remember an evening listening to "Sloth", my head pressed close to the speaker with RT's guitar channel, crying.
Location: Montreal. This was the album that really got me into FC. Sloth is just downright amazing. One of them "Sir B. In the song apparently had the longest title name in existence and was penned as such to get into the Guinness Book of Records. I was gonna add on that Rt's pulling of Poor Will was one more factor in Boyd leaving Witchseason behind and going back to the States--which in turn was a major factor in Drake's continuing slide into oblivion, not that it was Boyd's fault, just a Album).
I see a few already covered this.
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