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Concert
Review by Nick Morgan |
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FESTIVAL SPECIAL: FAIRPORT'S CROPREDY
Cropredy,
Oxfordshire, August 9,10,11th 2007 - Part One |
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Stop!
Before you turn away thinking “Not another
year’s worth of this Cropredy rubbish”
let me explain something. It’s a special year,
and we’re all here for a reason. And I don’t
mean that we’re celebrating the fact that
it’s Fairport
Convention’s fortieth anniversary,
nice ‘though that might be, or that Fairport
bassist Dave Pegg (who also spent sixteen years
with Jethro Tull during Fairport’s somewhat
fallow years of the late seventies and eighties)
is celebrating his sixtieth birthday this year.
Neither are we simply celebrating the fact that
somehow the weather gods relented and the floodwater
that had covered much of the festival site receded
just in time to allow the bash to proceed, nor that
we somehow survived a three and a half hour journey
in blistering heat over the last six miles of heavily
congested roads to our campsite. No – it’s
far more important that that. You see, on Friday
night the original 1969 line-up of Fairport (minus
the sadly departed Sandy Denny, who is replaced
by Chris
While) are on stage playing Liege & Lief,
the album that is widely considered to have written
the rule book for folk rock music, and which is
also rightly considered to be one of the defining
albums of the era. And by way of a bonus,
Richard
Thompson will be on stage afterwards
playing with his band. As Friday nights under the
stars go, it doesn’t get much better than
that. |
| What
about Thursday? Well – as a result of the
Festival being sold out (for the first time in 30
years) and the obvious anxiety that many had to
be there in good time for Friday evening, the journey
in a gridlocked North Oxfordshire is a nightmare
– and the site is already almost overflowing
(as are many of the lavatories). We could hear Wishbone
Ash (not to be confused with original
vocalist Martin Turner’s Wishbone
Ash) as we prepared dinner on our modest van.
They’re led by founder guitarist Andy Powell.
You may remember they were famed for their double
lead guitar sound – pioneered I always felt
by the Allman Brothers – and were managed
(along with a raft of other highly successful bands
of the time) by Miles
Copeland. From where we are they sound pretty
much like, well to be frank, Wishbone Ash, bashing
out tunes like ‘Warrior’ from their
hit album Argus in perhaps a slightly more folky
way than in the past. They were followed by Seth
Lakeman, whose set, again from a distance,
got more interesting as it progressed from predictable
folk-rock stuff to more contemporary sounding folk
stuff. I wish I could have seen the set. But we
are down in the mosh in time for Jools
Holland and his Rhythm
and Blues Orchestra who play a thoroughly enjoyable,
if rarely challenging, ska-tinged set. |
| The
Orchestra are about sixteen strong, and in addition
to Holland on piano and a surprisingly impressive
guitar, include veteran trombonist Rico Rodriguez
(who played that trombone solo on the Specials ‘Message
to you Rudy’) - who ably led a willing audience
through ‘Enjoy yourself (it’s later
than you think)’. The Orchestra also featured
the hugely impressive Birmingham vocalist Ruby
Turner (who sang an excellent version of ’Sitting
on top of the world’ accompanied by Holland
on keyboards), and the remarkably well preserved
Lulu, who naturally
yelled her debut 1964 hit ‘Shout’. Very
entertaining. |
| The
Liege and Lief album was recorded in the wake of
the road accident in May 1969 that cost the lives
of Fairport’s then drummer – Martin
Lamble, and Thompson’s girlfriend Jeannie
Franklyn. The album was put together in that summer,
with fiddler Dave
Swarbrick and drummer Dave
Mattacks joining Thompson, bassist Ashley
Hutchings, guitarist Simon Nicol and singer
Sandy
Denny (who died in 1978). The musical background
was the realisation that the country rock style
that the band had toyed with on their earlier albums
wasn’t going to work, particularly in the
light of the music coming out of the States from
groups like the Band. |
 |
| Interviewed
recently for the Guardian, Thompson explained “Music
from the Big Pink showed us that Americana was more
suited to Americans, and we needed to explore Britannicana,
or whatever the equivalent of that was”. As
a result the new album, recorded in October and
released in December, was a combination of traditional
tunes dug from the archives of Cecil Sharpe House,
and new compositions in a traditional mode, such
as Thompson and Swarbrick’s ‘Crazy Man
Michael’. The result was an engrossing combination,
joyful but dark, and musically pathbreaking. |
 |
The
1969 Fairports took the stage following a rousing
set from Roots folk duo Show
of Hands who preached an infectious
sort of anarchy in the safe confines of this rustic
time-warp. Of course they’re older but wiser
– Denny, Hutchings and Thompson had all left
the band within two years of Liege and Lief –
a delayed reaction, some said, to the traumatic
accident. All forged successful careers, Denny’s
being cut short by an untimely death. |
| Swarbrick,
one of the few musicians to have survived having
his obituary
published in the Daily Telegraph back in 1999, had
been confined to a wheelchair for many years due
to lung disease, but a recent transplant now sees
him in sprightly form. He and Thompson, not always
the best of friends despite their outstanding collaborations,
spend the evening sparring musically from opposite
sides of the stage. |
| The
music sounds as though it could have been written
yesterday – and hearing the album live in
its entirety reveals just how complex and challenging
many of the arrangements are – Thompson had
said “I don’t actually need to rehearse
it. I could sit down and play it today …”
but it’s clear that a lot of preparation has
taken place. And probably because the set is being
recorded for a live
broadcast no-one wants to hit a wrong note –
and by and large they don’t, although Swarbrick’s
fondness for his wah-wah pedal does occasionally
get a little intrusive. While’s singing is
superb, and Thompson’s guitar – warming
up for his own set – often more intricate
than on the album. Tinged with sadness and not a
little nostalgia the result is an enchanting hour
or so under the Cropredy stars. |
Chris
While |
| The
start of the Liege and Lief set was delayed by microphone
problems that not only put some pressure on Thompson’s
set, but also emerged during his opening song, ‘Needle
and thread’ from his new ‘Sweet Warrior’
album, when we couldn’t hear a word of the
lyrics. That apart, the set was faultless, with
Thompson supported by Danny Thompson on the double
bass, Pete Zorn on rhythm guitar, mandolin and horns
and Michael Jerome on drums. |
|
 |
| Highlights
– well it’s difficult to pick –
but I was engaged by ‘Mingulay boat song’,
the simply magnificent solo on ‘Take care
what you choose’ (which I think left most
people speechless it was so good – certainly
my son was open mouthed), ‘Dad’s gonna
kill me’ – the story of a soldiers experience
in Iraq, and favourites such as ‘Read about
love’, ‘Wall of death’ and the
cheekily misogynistic final encore ‘ Tearstained
letter’. But I’ll leave it at that as
we’re off to see him at the Roundhouse in
October and will report back fully then. In the
meantime it’s back to the luxurious mobile
home, bed and preparation for another days worth
of Fairport fest. - Nick (photographs by Kate) |
FESTIVAL SPECIAL: FAIRPORT'S CROPREDY
Cropredy, Oxfordshire, August 9,10,11th 2007 - Part
Two |
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There’s
something special about waking at dawn in the heart
of the English countryside, the strong rays of the
early morning sun cutting through the swirls of
mist that rise from the nearby canal. Walking through
the dew sodden grass, the only noise is occasional
birdsong, the bleat of sheep from the gentle hillside
that slopes up to the honey-coloured Georgian mansion
to the south, or the lowing of calves and the gentle
response of their mothers in the nearby fields.
|
| And
then, like a reluctant participant in a game of
Russian roulette, choosing a toilet block for
your morning ablutions, never knowing if you’ll
be the unlucky guy who picks the one that’s
just witnessed an impromptu sphincter Olympics.
Ah
yes – the joys of the countryside indeed.
And then breakfast – everywhere the smell
of overheated oil, frying bacon, and bubbling
beans fights to overcome the rank stench of body
odour accumulated from two days without showers,
whilst for some petit dejeuner comprises only
the first beer (in the case of Roger in the van
next door his own malodorous home-brew) and cigarette
of the day. And if you don’t want to cook
there are no shortages of opportunities to start
your Cropredy day in true yeoman style before
heading to the festival field, fishing chair in
hand, tankard strapped to your belt, for an afternoon
of ale, ale, err…. ale, and more ale... |
 |
 |
 |
They’ve
been out here at the crack of dawn, to reserve
their seats …the bastards. It’s worse
than trying to get a decent spot by the swimming
pool when you’re on holiday in Spain. But
with our coolbags and rucksacks we manage to get
ourselves – just where we were last year,
and, err…the year before that. And who should
be over to our left but Tankard Man, who’s
got his paint box out and is making a nice picture
of the stage, bothered only by the fact that it’s
too hot for his acrylics. And just in front of
him the Pork Pie Club (you remember Serge, they
like pork pies).
Yes,
with a precision worthy of the dining room of
a faded British seaside private hotel, everyone
is exactly where they should be; or, as Robert
Browning wrote, “God’s in his heaven
– all’s right with the world”.
Well not quite – it’s the hottest
day of the year (again) and the sun is beating
down on us – for the whole afternoon. The
kamikaze are tucking into the Wadworths
with a vengeance and falling like flies before
too long – the Photographer produces something
a little more Mediterranean. Nonetheless the heat
is so bad that I spend much of the afternoon under
a tablecloth, thereby missing opening act Richard
Digance.
I
did emerge to listen to Giveway,
four charming albeit rather gauche sisters from
Edinburgh who played a set of lively jigs and
reels – they have a couple of albums under
their belt and are just off to do a month long
tour of the USA, including the Celtic Classic
Festival in Bethlehem PA, which includes a ‘traditional
haggis eating contest’. Cor! They’re
followed by The
Bucket Boys who have come all the
way from Cornwall to play a rather superior pub-rock
set with some nice country tunes. |
 |
Nick's
tablecloth (is this some kind of British Burkha?
- Ed) - Right: Giveway |
 |
Ian
Matthews |
| Next
on is Ian
Matthews. Remember him? An original
member of Fairport Convention he left in early 1969
and had a smash hit in the following year with a
cover of ‘Woodstock’. He made a few
albums with his band Plainsong and then moved to
the States where he continued to write and record,
but seven years ago relocated to Amsterdam. It’s
an odd set – he’s still got a sweet
voice but a certain sense of discontent seems to
run through his songs, the majority of which are
rather unremarkable. He ends up getting his set
cut short – “Well isn’t that just
like me, I’ve run out of time”. |
| What
followed was bizarre in the extreme. It’s
the Strawbs,
1960s folk outfit (originally including Sandy Denny)
who turned to ‘progressive’ rock under
the influence of Rick Wakeman, and had chart success
with the singles ‘Lay Down’ and the
appalling ‘Part of the Union’, and albums
like Witchwood and Bursting at the Seams. I never
much liked the Strawbs, and in particular didn’t
care for Dave Cousin’s affected singing voice;
I never bought any of their albums, and as far as
I can recall never saw them. They lurched through
a bewildering number of incarnations before throwing
in the towel in 1980, only to return in the 90s
– now they tour and record in separate acoustic
and electric line-ups. And boy have they got some
devoted fans – most of whom seem to be sitting
around us. So while I’m having a Spinal Tap
moment, barely believing that Cousins could dare
come out with such dated balderdash as ‘Witchwood’,
‘Benedictus’, ‘Autumn’,
and ‘Ghosts’ in 2007, the fans are approaching
a state of unbridled ecstasy. The Photographer warns
me to stop my Cousins impersonation, as it’s
drawing disapproving glances from our neighbours.
And when at the end of their set they’re abruptly
rushed off the stage by the crew there’s almost
an ugly moment – and believe me Cropredy doesn’t
do ugly. So in the face of a volley of angry boos
and chants Cousins and the band are led out to take
a final bow before the adoring masses. Now tell
me – who was right – me or them? Either
way we’re on the homeward strait – assisted
by Tyneside veterans Bob
Fox and Billy
Mitchell who occupy the difficult pre-Fairport
slot with ease. Very funny, occasionally very poignant.
If the opportunity arises I’ll certainly go
and see these guys again. |
| It’s
Fairport. They’re on stage early (which turns
out to be a mistake, as they end up finishing the
set early, and have to put in a few hastily remembered
fillers before the finale). They have a new album
out, Sense of Occasion, and they’ve got back
stage projection. Ah yes – and the gig is
being filmed so we’ve also got the intrusive
arm of an automatic camera rig moving in and out
of our view. |
| As
you would expect there are high points and low points
as a barrage of guests, including Maartin
Allcock, Dave Swarbrick, Dave Mattacks, former
guitarist Jerry
Donahue, Richard Thompson, Uncle
Tom Cobley and all, join the stage. Best for
me is the Fairport Full House line-up, playing ‘Walk
awhile’, ‘Doctor of Physick’ and
‘Sloth’, the last of which was positively
thrilling. My notebook tells me that Jerry Donahue
played a guitar solo on Sandy Denny’s ‘One
more chance’, which I guess means I liked
it. Ric Saunders (who played a wonderful fiddle
part on ‘Portmeirion’) deserved a prize
for the worst song introduction – “Talking
of shooting stars, this song’s about shooting
birds…” (it was the Robert Burns’
poem ‘Western winds’). We heard a couple
of songs from the new album by the Photographer’s
favourite Chris Leslie. ‘South Dakota to Manchester’,
like ‘Edge of the world’ showed I thought
an unhealthy tendency towards a rather repetitive
Ralph McTell style ‘history song’. It’s
a format that can work once (or maybe twice) but
can quickly become tedious. Talking of which I’ve
often been irritated by Dave Pegg’s blokey
familiarity and have consequently sometimes doubted
his talents. So I should go on record as saying
that his bass playing was first class. And that
was about it. |
 |
|
Some controversy when they finally got round to
playing the rather bastardised (as the previous
evening had reminded us) version of ‘Matty
Groves’ that has become a Fairport trademark.
Playing a film that used Lego figures to portray
the characters in the story was obviously sacrilege
for some of those traditionalists around us. Me
– I thought it was wonderfully surreal. And
then before we knew it was time to meet on the ledge
as the cold night closed in around us, with a firework
finale to warm us on our way home. |
Next
year? Same time? Same place? Same people? Well,
maybe …
- Nick (photographs by Kate) |
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