Customer Reviews

First Album

5 star:		(2)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Recorded at a time when Fairport Convention were a fixture on the London hippy scene and the closest they'd got to folk-rock was listening to Bringing It All Back Home, the band's debut album nevertheless contains the seeds of what was to come. In comparison with their later, exemplary work, it's solid but not startling. Both Ian Matthews and Judy Dyble's vocals are rather weak (Ian's voice became stronger through the years); and Joe Boyd's production is on the thin side compared to the richness we usually expect from him. On the other hand, the perfectly balanced guitar team of Richard Thompson and Simon Nicol is already in place; Richard's gift for songwriting is on display; and the band's choice of cover versions is inspired. Best tracks? The chugging run through Emmitt Rhodes' Time Will Show The Wiser; the obscure Dylan track Jack O' Diamonds; and the jazzy blues of It's Alright Ma, It's Only Witchcraft. Dated, but oddly likeable, and well worth a listen.

I actually would give this album 3.75 stars. The first half of this album is really good. The opening track is perhaps fairport's best "rock" song, not unlike something from the west coast scene. Certainly the most rock oriented of their albums, it is woth picking up (despite the second half lagging a bit with some lackluster insrumentals). It does contain atleast 2 of fairport's best songs, 'Time will show...' and 'I don't know where...'

This is a surprisingly good 1st album that stands on its own with later great Fairport albums and holds its own against other 1st albums by 60's acts. While not all songs are great, most are good and interesting. Don't know why RT's guitar on "Time Will Show the Wiser" was never considered classic 60's riff. Propels the song from beginning to end. "Decameron" is ethereal and shows other side of RT's guitar talent. All from an 18 year old. Even more remarkable is they play as a group without an ego out front. Sheer joy and love of music shows through in compositions, arrangements and playing by all. Wish there was more recorded music of Fairport's early years. Adventurous and delightful. Would have been interesting to see what would have evolved if they had not gone so far down the traditional folk road. Essential only for Fairport fans.

Notwithstanding any of the other reviews of this album, this is the only album where Fairport Convention actually sound like anyone else and this is the album which led to them being branded as the English Jefferson Airplane but the comparison is like comparing chalk with cheese except maybe in the roots of both bands.

A very interesting album in one respect and that is the personnel changes which took place right after it with Judy Dyble leaving and not embarking on a solo career later to be replaced by Alexandra Denny. Also interesting and least remarked on is the musical relationship between Richard Thompson and Ashley 'Tyger' Hutchings which formed the mainstay of the first four albums.

Fairport Convention brings 'new folk' to British audiences for the first time in a major way. While Bob Dylan was a major influence on the band they only recorded one of his songs on this album but borrowed a title for another 'It's Alright Ma, It's Only Witchcraft'. Joni Mitchell composed two of the songs which helped her to gain greater exposure in the British community.

This is a nice album in many ways which gives an almost genteel feeling, almost one of restraint. Thirty four years after it's release it does not seem as radical as it then was, overshadowed by the tidal wave from America's west coast. Yet this album was a radical departure. The folk community had a hostility to electric instruments which cannot be understood today and they had shown that in their reaction to Bob Dylan's use of them at the Albert Hall. Folk music was intrinsically backward looking and reluctant to be brought up to date and here was the vanguard of the revolution which not only modernised but brought a new lease of life to that community marked by an great increase in the formation of folk clubs in pubs around the country. Seen within that context this album assumes an enormous significance. It also allowed the band to develop and go on not only to make some of the finest folk-rock albums ever but to lead the way for others to follow. There would be no Albion Band to name just one, if there had been no Fairports.

There may not be a whole lot of excitement in this album but there are some good renditions, my own favourite being 'I Don't Know Where I stand' but overall the album exhibits some wonderful voices and competent playing. I remember it with fondness. One small step for Fairports but a giant leap for British Folk-Rock.

Before going full on into the traditional British based folk music that they and their offshoot bands are today known for, Fairport Convention were much more aligned to the San Francisco sound- mainly that of the early Jefferson Airplane, and were commonly playing gigs at the famed London Underground clubs of the day, such as the UFO and Middle Earth.

Their self-titled debut lp followed the release of a single- "If I Had A Ribbon Bow" b/w "If(Stomp)," which flopped on the charts. The lp itself has nice moments. The guitar prowice of the famed Richard Thompson is all over the lp, especially on the band's minor hit "Time Will Show the Wiser." The track, with excellent vocals by Ian Matthews, is very much akin to "Surrealistic Pillow" era Airplane, and is a great track. The vocals of Judy Dyble are most apparent on their cover of Joni Mitchell's "I Don't Know Where I Stand," with great harmony by Matthews. (Admittedly, Sandy Denny's reading on Fairport's "Heyday" lp is much better). Their cover of Mitchell's "Chelsea Morning" is also credible.

"If(Stomp)" foreshadows the direction the band would take on their next few lps, mainly "What We Did On Our Holidays," with a great downhome feel of guitar playing by Thompson and Simon Nichol.

Overall, the lp is weakened a bit by the somewhat directionless instrumentals on the 2nd side, but still, this lp is a interesting debut by a band that would soon be the hallmark for all British folk/rock bands. Fans of the band or those enamoured (as I am) by Richard Thompson's playing will also find great moments to latch on to. While not as strong as their next few lps, "Fairport Convention" is very similar to Jefferson Airplane's "Jefferson Airplane Takes Off" and "Surrealistic Pillow" lps. Fans of these lps will take to this lp like bees to honey. An entertaining debut.

First of all, despite some reviewers who fall into the "Fairport as Jefferson Airplane" mode, this lp is distinctly British. Even though they are doing songs by Americans and Canadians, the BAND SOUNDS TOTALLY BRITISH. I don't see any connection with the San Fran bands, which is what one reviewer wrote...none of the standard San Fran band songs are here: "I Know You Rider," "Lets Get Together," etc. Except for the live "Reno, Nevada" there is no jamming. All the songs are very structured, whereas
the San Fran bands were moving toward the stuff on "Baxter's" and "Anthem of the Sun" by this time. Name one song that Fairport Mark I were doing that intersects with the San Fran bands. There is no connection here. Fairport always were very British, even when doing North American singer/songwriter stuff.

That being said, this album is an excellent work in retrospect. I really only used to play a couple of songs when I first bought it back in 1968, but now I love almost the whole thing. Richard's guitar playing is much more aggressive and I LOVE JUDY DYBLE'S VOICE! She had an ethereal quality that Sandy could never match. It would have been interesting to hear Judy sing "Tam Lin" because of the quality of her voice. I wish Judy had had the chance to do one or two more lps with the band.
The original songs are the album's weak point. The songwriting wasn't quite up to snuff yet, but they're decent songs. "Its Alright Ma, its Only Witchcraft" stands out.

In conclusion, this is an excellent debut album and lay off the "Fairport as Jefferson Airplane" tag. IT JUST DOES NOT FIT! If anything they were closer to We Five on their "Catch the Wind" album if you want a San Fran connection.

pretty Harmonies,sweetguitars that are high in the register bend and flow effortlessly around a solid groovy backbeat,love this C/D fully very kind to the naked ear,almost anything with Sandy denny and Richard Thompson is the best in my book CHEERZ!Smitty :}

Fairport Convention es uno de esos grupos con un sonido identificable a la distancia, pero cuidado, porque en su primer disco se pasean por variados estilos demostrando saber que hacer en cada uno de ellos. Como sucede muchas veces los trabajos menos valorados o considerados anecdóticos dentro de la trayectoria de un grupo pueden traer gratas sorpresas, siendo este una de ellas, y de ahí que puede ser más apreciado por seguidores del rock de fines de los 60's que por fans de la banda.

Las comparaciones con Jefferson Airplane son obvias aquí, y aunque la búsqueda de un estilo propio se desarrollará más adelante, tanto en los temas rockeros como folk los resultados son igualmente buenos. Entre los primeros Time Will Show The Wiser, Jack O'Diamonds y la bluesera It's Alrght Ma, It's Only Witchcraft muestran al grupo imbuido en sonoridades pesadas con una acertada ejecución en las guitarras, mientras One Sure Thing y Chelsea Morning son bellos temas folk con una base rock. Puede que la voz de Judy Dyble no esté a la altura de la de Sandy Denny pero de igual manera se luce en cada uno de sus intervenciones.

Mención aparte merece la melancólica y sobrecogedora Decameron, el momento más tranquilo y uno de los puntos altos. The Lobster, el tema más extenso y perturbador del álbum se mueve entre territorios cercanos al jazz y la sicodelia con un repentino estruendo instrumental, evidenciando las múltiples facetas de un inquieto grupo, haciendo de este "accidente" en su historia una grata sorpresa.

Before Sandy Denny came along, a very young Fairport Convention recorded this lovely album full of warmth and open-hearted innocence, with Judy Dyble and Ian MacDonald (later known as Iain Matthews) on vocals. It's full of the singer-songwriter material found on "What We Did on Our Holidays". The album starts with the rocking single, Emmitt Rhodes' "Time Will Show the Wiser." Dyble sings a pair of Joni Mitchell songs, including a fantastic arrangement of "I Don't Know Where I Stand," while MacDonald does Bob Dylan's "Jack o'Diamonds." Richard Thompson's prolific recorded career began on this album, with five co-written songs, including the sad but lovely "Decameron", wistful "Sun Shade", and blues-rockers "If" and "It's Alright Ma, It's Only Witchcraft". Dyble's voice isn't as strong as Denny's, but she provides a variety of musical touches, like the recorder solo on "Jack o'Diamonds", autoharp riff on "The Lobster", and piano that frames the instrumental "Portfolio". Throughout the album, the band is experimenting with dynamics, tempos, and sound textures.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)