Fairport Convention

如果我們視UK Folk為一棵大樹的話，F(xiàn)airport Covention就應(yīng)是樹的主桿了，從他們那分枝出去的樂團(tuán)為數(shù)不少。該團(tuán)成軍於1967年11月，中間歷經(jīng)多次的改組，每一次的改組都造成團(tuán)員的異動(dòng)，同時(shí)也產(chǎn)生新的樂團(tuán)，較為知名，的有Matthews Southern Comfort（1970）、Steeleye Span（1970-1978）、Albion Country Band（1972-1973）、Etchingham Steam Band（1974-1975）、Albion Dance Band(1975-1989)。
 
Fairport Convention原本是地下樂團(tuán)出身，與他們同一時(shí)期的尚有Pink Floyd、Soft Machine等都是當(dāng)時(shí)著名的地下團(tuán)體。1967年初成立時(shí)是六位成員，其中以Simon Nicol、Richard Thompson及Ashley Hutchings為首，主唱?jiǎng)t是Ian Matthews，隔年5月則邀請(qǐng)Sandy Denny為新任主唱，取代Judy Dyble的位置，Sandy原來是Strawbs的主唱，她很成功地將傳統(tǒng)民謠的感覺帶進(jìn)Fairport的風(fēng)格里，并且推出了一張很不錯(cuò)的專輯「What We Did on Our Holidays」，Sandy 唱了一首老歌謠&She Moved Through the Fair&及自創(chuàng)曲&Fothe-ringay&，Richard Thompson貢獻(xiàn)了大作&Meet on the Ledge&，Ian Matth-ews則演唱輕快的&Book Song&。唱片推出之后，Ian就因是否必要再釋傳統(tǒng)歌謠的意見不合，即毅然離去，1970年自組Matthews South-ern Comfort。
 
by Richie Unterberger
The best British folk-rock band of the late 60s, Fairport Convention did more than any other act to develop a truly British variation on the folk-rock prototype by drawing upon traditional material and styles indigenous to the British Isles. While the revved-up renditions of traditional British folk tunes drew the most critical attention, the group members were also (at least at the outset) talented songwriters as well as interpreters. They were comfortable with conventional harmony-based folk-rock as well as tunes that drew upon more explicitly traditional sources, and boasted some of the best singers and instrumentalists of the day. A revolving door of personnel changes, however, saw the exit of their most distinguished talents, and basically changed the band into a living museum piece after the early 70s, albeit an enjoyable one with integrity.
 
When Fairport formed around 1967, their goal was not to revive British folk numbers, but to play harmony- and guitar-based folk-rock in a style strongly influenced by Californian groups of the day (especially the Byrds). The lineup that recorded their self-titled debut album in 1968 featured Richard Thompson, Ian Matthews, and Simon Nicol on guitars; Ashley Hutchings on bass; Judy Dyble on vocals; and Martin Lamble on drums. Most of the members sang, though Matthews and Dyble were the strongest vocalists in this early incarnation; all of their early work, in fact, was characterized by blends of male and female vocals, influenced by such American acts as the Mamas & the Papas and Ian & Sylvia. While their first album was derivative, it had some fine material, and the band was already showing a knack for eclecticism, excavating overlooked songs by Joni Mitchell (then virtually unknown) and Emitt Rhodes.
 
Fairport Convention didnt reach their peak until Dyble was replaced after the first album in 1968 by Sandy Denny, who had previously recorded both as a solo act and with the Strawbs. Dennys penetrating, resonant style qualified her as the best British folk-rock singer of all time, and provided Fairport with the best vocalist they would ever have. What We Did on Our Holidays (1969) and Unhalfbricking (1969) are their best albums, mixing strong originals, excellent covers of contemporary folk-rock songs by the likes of Mitchell and Dylan, and imaginative revivals of traditional folk songs that mixed electric and acoustic instruments with a beguiling ease.
 
Matthews had left the band in early 1969, and Lamble (still in his teens) died in an accident involving the groups equipment van in mid-1969. That forced Fairport to regroup, replacing Lamble with Dave Mattacks, and adding Dave Swarbrick on fiddle. Their repertoire, too, became much more traditional in focus, and electrified traditional folk numbers would dominate their next album, Liege and Lief (1969). Here critical thought diverges; some insist that this is unequivocally their peak, marking a final escape from their 60s folk-rock influences into a much more original style. This school of thought severely underestimates their songwriting talents, and others feel that they were at their best when mixing original and outside material, and contemporary and traditional styles, in fact becoming more predictable and derivative when they opted to concentrate on British folk chestnuts.
 
The Liege and Lief lineup didnt last long; by the end of the 60s, Ashley Hutchings had left to join Steeleye Span, replaced by Dave Pegg. More crucially, Denny was also gone, helping to form Fotheringay. Thompson was still on board for Full House (1970), but by the beginning of 1971 he too had departed, leaving Nicol as the only original member.
 
Fairport have kept going, on and off (mostly on), for the last 25 years, touring and performing frequently. It may be too harsh to dismiss all of their post-Thompson records out of hand; Angel Delight (1971), the first recorded without the guitarist on board, was actually their highest-charting LP in the U.K., reaching the Top Ten. Nicols exit in late 1971 erased all vestiges of connections to their salad days. Fairport was now not so much a continuous entity as a concept, carried on by musicians dedicated to the electrified British folk style that had been mapped out on Liege and Lief.
 
So it continues to this day, supported by a devoted fan base (Dirty Linen, the top American roots music magazine, originally began as a Fairport Convention fanzine). Denny would actually return to the group for about a year and a half in the 1970s, prior to her death in 1978; Nicol rejoined in 1976. Keeping track of Fairports multitudinous lineup changes is a daunting task, and the group has coexisted on an erratic basis with the various other projects of the most frequent members (Nicol, Mattacks, and Pegg, the last of whom has played with Jethro Tull since the late 70s). They played annual reunion concerts during the 1980s and 90s (sometimes joined on-stage by Fairport alumni like Thompson), events that turned into some of the most popular folk festivals in Europe. Theyve also released some albums of new material intermittently throughout the last couple of decades, mostly pleasant, unexceptional traditional-oriented outings that appeal primarily to diehards.
 
The most distinguished graduates of Fairport, however, have continued to shape the British folk and folk-rock scene with notable solo and group projects. Richard Thompson is one of the most critically acclaimed singer/songwriters in the world; Ian Matthews made some interesting recordings as a solo act and with Plainsong and Matthews Southern Comfort; Denny sang with Fotheringay and released several solo albums before her death; and Hutchings carried on the most traditional face of British folk-rock with Steeleye Span, the Albion Band, and the Etchingham Steam Band.