FEATURED CD: Fairport Convention - Liege and Lief

[Poisoned Youth]

I've never really gotten into this album personally, but it has received extensive praise over the decades from those inside and outside our bubble. What's your take on this? I'm curious to a glimpse into what some of us are missing. For me personally, I suppose that I've never really been into folk music all that much to where the things I admire about the album are offset with a style I don't care for much.



Review from Progarchives:

Liege & Lief is the fourth studio album from UK folk/ rock act Fairport Convention and it´s the third album the band would release in 1969. It´s also the third and last album with Sandy Denny ( She would return a couple of years later, but that´s another story). The first being What We Did On Our Holidays and the second being Unhalfbricking. Liege & Lief was written and recorded during the summer of 1969. Producer Joe Boyd has installed the band in a large English country house and the band had set up their rehearsal gear in one of the large downstairs livingrooms. In the spring of 1969 the band had been struck by tragedy when drummer Martin Lamble and Richard Thompson´s girlfriend Jeannie Taylor were killed in a car crash and the band was at that time unsure if they wished to continue. After a while the band got the pieces together and set out to record their next album. A new drummer Dave Mattacks and Violinist Dave Swarbrick ( who had guested on Unhalfbricking) were added to the lineup.

It was decided that they would start from scratch to prevent them from being reminded about the dead too often. This means that many of the songs on Liege & Lief are traditional british folk songs which has been re-arranged by the band. In fact only three out of the eight songs on the original release were written by members of the band and that´s come All Ye, Farewell, Farewell and Crazy Man Michael. That doesn´t mean that the music has changed that much since Unhalfbricking IMO. Unhalfbricking was also pretty folky if you ask me.

The difference is the mood on Liege & Lief which I think reflects the sad mood the members must have been in at the time. There are some truly beautiful songs on the album and I´ll mention the powerful Matty Groves as my favorite, but also songs like The Deserter, Tam Lin and Raynardine are excellent. Only Medley : The Lark In The Morning/ Rakish Paddy/ Foxhunter's Jig/ Toss The Feathers is below standard and that´s just because it doesn´t suit my taste. I just can´t stand the dirtkickin`, leather jiggin` violin led piece.

The two bonus tracks which has been added to the CD re-release are also great songs. I especially enjoy Quiet Joys Of Brotherhood. Fairport Convention´s version of The End.

The musicianship is excellent. Sandy Denny is a strong female vocalist. She really gave Fairport Convention their identity in that period. I also enjoy the great interplay between the two guitarists.

The production is really well done. It suits the music perfectly. Warm and pleasant.

Liege & Lief is a notch better than Unhalfbricking IMO and deserves a 4 star rating. I can´t claim that this is music I listen to very often but this exact album ( and the debut) has something special that can´t be taught or practised. It´s got real emotions. Out of the three Sandy Denny led albums this is by far my favorite from Fairport Convention. Sadly Sandy and bassist Ashley Hutchings would leave the band shortly after the recording of the album. - UMUR

[Mister Triscuits]

Unfortunate that it proved to be the last album with Sandy Denny; I don't think she was ever replaced,

Except that she did return a few years later for a good-but-not-great live album followed by the so-so Rising for the Moon. Ironically, the latter was perhaps Fairport's least folky album; instead of marking a return to Liege and Lief territory, it was more about Sandy's (and hubby Trevor Lucas's) singer-songwriter stuff, which she had already been doing a better job of on her solo albums.

Liege and Lief itself? A stone classic; ground zero for British folk-rock; a masterpiece.

[marblesmike]

It's easily the best Fairport Convention album IMHO. The reason is that, for me, there's a consistent approach. They deliberately set out to do an album which was literally 'folk rock'- rock versions of English folk songs, even the originals have the flavour of old folk songs. The previous albums were more of a smorgasbord of material from varied sources, including some whimsical material that I can personally do without ('Mr Lacey', 'Si Tu Dois Partir' and 'Cajun Woman', for instance).

I think it's home to some of their most fiery playing- witness the instrumental medley, 'Matty Groves' and 'Tam Lin'. I also like the more spare arrangement given to 'Reynardine'. I like the lyrics of these old songs- 'Matty Groves' and 'The Deserter' in particular, with their barbed commetary on the class system in the UK.

Unfortunate that it proved to be the last album with Sandy Denny; I don't think she was ever replaced, vocals are consistently an issue with their subsequent output IMHO.

Agreed. It's the only Fairport Album I've gotten into even though I've been told to check out the one after Liege and Lief. I like its pastoral leanings and this might about as folky as I can take.

[JJ88]

It's easily the best Fairport Convention album IMHO. The reason is that, for me, there's a consistent approach. They deliberately set out to do an album which was literally 'folk rock'- rock versions of English folk songs, even the originals have the flavour of old folk songs. The previous albums were more of a smorgasbord of material from varied sources, including some whimsical material that I can personally do without ('Mr Lacey', 'Si Tu Dois Partir' and 'Cajun Woman', for instance).

I think it's home to some of their most fiery playing- witness the instrumental medley, 'Matty Groves' and 'Tam Lin'. I also like the more spare arrangement given to 'Reynardine'. I like the lyrics of these old songs- 'Matty Groves' and 'The Deserter' in particular, with their barbed commetary on the class system in the UK.

Unfortunate that it proved to be the last album with Sandy Denny; I don't think she was ever replaced, vocals are consistently an issue with their subsequent output IMHO.

The one after is Full House, and is not very similar. IMHO it's more of a country-rock flavoured album. It does have some great moments on it but I find myself preferring the instrumental bits- 'Dirty Linen' and the guitar soloing on 'Sloth'. Nothing much I've heard after that (which isn't really anything beyond 1975) was a keeper for me. As for the ones before, What We Did On Our Holidays and Unhalfbricking, they aren't as unified but have many wonderful moments.

[Jack in Wilmington]

The one after is Full House, and is not very similar. IMHO it's more of a country-rock flavoured album. It does have some great moments on it but I find myself preferring the instrumental bits- 'Dirty Linen' and the guitar soloing on 'Sloth'. Nothing much I've heard after that (which isn't really anything beyond 1975) was a keeper for me.

As for the ones before, What We Did On Our Holidays and Unhalfbricking, they aren't as unified but have many wonderful momen
Yes I knew she returned; it didn't come across that well in my post but I meant that she left after this one.

I've had this album for years. First in LP form, later in CD and now in new vinyl. Saw them in concert in 75 in New Jersey when Caravan opened for them and have been a huge fan since. Unhalfbricking is a great album also.

[taliesin]

This is the foundational album for folk rock in the sense of traditional songs being played in a rock style. Much like Court of the Crimson King for progressive - other people were doing similar things but this was the one that made both an artistic and commercial statement in a larger way.

It may sound a bit dated now with almost 50 years (yikes!) of albums since but it still stands up for me.

[zombywoof]

I like it a lot, but I hold Richard Thompson's solo work in higher regard.

[mogrooves]

I prefer Unhalfbricking, but this one is close.

[Scrotum Scissor]

The part starting at 0:56 ("Rakish Paddy") was a given test of will and apt back in my day as aspiring axeman in a folk-rock group during university years. I couldn't quite get it right, but at least I outdid the rubbish fiddler present.



FWIW, I absolutely love this album. I really like Unhalfbricking, What We Did..., Full House, Angel Delight and Babbacombe Lee, but I LOVE Liege and Lief. Even then I'm inclined to namecheck Fotheringay's s/t as the single finest Denny hour with a band.

[Mister Triscuits]

The one after is Full House, and is not very similar. IMHO it's more of a country-rock flavoured album. It does have some great moments on it but I find myself preferring the instrumental bits- 'Dirty Linen' and the guitar soloing on 'Sloth'. Nothing much I've heard after that (which isn't really anything beyond 1975) was a keeper for me.

Fairport really floundered through the mid '70s with Pegg and Swarbrick basically keeping it afloat with an ever-changing lineup featuring no original members. The albums were still decent, but nowhere near the level of the Denny-Thompson period. But I really like the albums they did after Simon Nicol rejoined and they returned to a more trad-folk based direction. The Bonny Bunch of Roses in particular is excellent.

[zombywoof]

Fairport really floundered through the mid '70s with Pegg and Swarbrick basically keeping it afloat with an ever-changing lineup featuring no original members. The albums were still decent, but nowhere near the level of the Denny-Thompson period. But I really like the albums they did after Simon Nicol rejoined and they returned to a more trad-folk based direction. The Bonny Bunch of Roses in particular is excellent.

Wait. I thought 'Denny' Thompson was in Pentangle? :P


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[Mister Triscuits]

Wait. I thought 'Denny' Thompson was in Pentangle? :P

Yes, along with Jocko McShee, Bart Jansch, Don Renbourn, and Jerry Cox.

[interbellum]

Nice coincidence that I bought "I've Always Kept A Unicorn : The Acoustic Sandy Denny" this weekend.

I'm not a folk-rock expert, but really like L&L and this is also my only FC-album (LP + double-deluxe-edition-version).

[JJ88]

I will say that by and large, I'm not an English folk guy either. This mid-late 60s and very early 70s period is all I listen to really.

[Scrotum Scissor]

I'm not an English folk guy either.

And neither am I, as the gulf between UK folk-rock (which I tend to enjoy greatly) and UK folk as such became all the wider with Swarb's transgressive "betrayal of ideals" on jumping ship with FC in '69. I still think the world of Anne Briggs, Martin Carthy, Ralph McTell et al., but they were all quickly accepted into the fold of the burgeoning new scene along with people like Jansch & Renbourn, I.S.B., John Martyn, Michael Chapman and the lot. The erstwhile "old guard" was never really my thing, although we shouldn't forget that it was there after all - and before everything else came along.

[Spiral]

I've never really gotten into this album personally, but it has received extensive praise over the decades from those inside and outside our bubble. What's your take on this? I'm curious to a glimpse into what some of us are missing.

Its reputation would be difficult for most albums to live up to, but I'd say L&L deserves most of the hype. As JJ says, they benefit from having a cohesive vision. Where the previous albums had more of a hodgepodge quality, combining different writers' contributions with Mitchell/Dylan covers and the like, this one shoots for a certain mold and nails it. The fusion (though that's probably not the right word) made the folky parts accessible to pop/rock listeners who might have had trouble getting into the pure folk (even the electrified Steeleye variety). I think the attention Liege got and the subsequent legendary status partly came from circumstances--catching on with just that mix of elements at just the right time.

It also did a good job giving a decent overview of the folk genre's facets in 40 minutes. Story pieces long and short, a simple pretty ballad, a fun jig, tricky at times but simple at others, and that voice... there's something for a lot of different tastes. I've always found "Reynardine" a little too slow and drawn-out, and the ending ballads for sides one and two should have been switched. But if I don't consider it a perfect masterpiece for my taste, I wouldn't argue with anyone who does.

there's a consistent approach. They deliberately set out to do an album which was literally 'folk rock'- rock versions of English folk songs, even the originals have the flavour of old folk songs. ... I think it's home to some of their most fiery playing

This is the foundational album for folk rock in the sense of traditional songs being played in a rock style. Much like Court of the Crimson King for progressive - other people were doing similar things but this was the one that made both an artistic and commercial statement in a larger way.

Yes. Exactly.

[Fracktured]

Nice coincidence that I bought "I've Always Kept A Unicorn : The Acoustic Sandy Denny" this weekend.

I'm not a folk-rock expert, but really like L&L and this is also my only FC-album (LP + double-deluxe-edition-version).

Listening to the sound bites from this collection and it sounds right up my alley with Sandy. I love her laid back folk acoustic style and this sounds brilliant. Thanks for the heads up.

[Pr33t]

It's easily the best Fairport Convention album IMHO. The reason is that, for me, there's a consistent approach. They deliberately set out to do an album which was literally 'folk rock'- rock versions of English folk songs, even the originals have the flavour of old folk songs. The previous albums were more of a smorgasbord of material from varied sources, including some whimsical material that I can personally do without ('Mr Lacey', 'Si Tu Dois Partir' and 'Cajun Woman', for instance).

I love all the Fairport through this one, but I'd agree with JJ's statement above as to why this is their masterpiece and the template for what a true synthesis of traditional folk music with rock arrangements should be; it's cohesive. Despite the archaic nature of the source material, the songs are steeped in history, but simultaneously sound timeless. Not at all a proper critical assessment, but this album is magic. The instrumental closing to "Matty Groves" makes my hair stand on end every time.

[Mister Triscuits]

The instrumental closing to "Matty Groves" makes my hair stand on end every time.

I was stunned when, late one night, I first heard Martin Carthy's "Famous Flower of Serving Men," which is itself a long (and chilling) story-song, and is the source of the tune played at the end of "Matty Groves."

[Pr33t]

I was stunned when, late one night, I first heard Martin Carthy's "Famous Flower of Serving Men," which is itself a long (and chilling) story-song, and is the source of the tune played at the end of "Matty Groves."

Man, I'll have to check this out. Thanks for the info!

[Digital_Man]

I own this album but I haven't listened to it in a long time. I guess I'll have to revisit. Does anyone here like Pentagle? They seem to be similar.

[Mister Triscuits]

I own this album but I haven't listened to it in a long time. I guess I'll have to revisit. Does anyone here like Pentagle? They seem to be similar.

I would not say Pentangle is really similar. They are much lighter and more acoustic-oriented, not much rock but a lot of jazz and blues mixed in with the folk.

[The Dark Elf]

I like it a lot, but I hold Richard Thompson's solo work in higher regard.

We often agree, Ian, but this time, no. Liege & Lief is a masterpiece that eclipses all of Thompson's later work, even though much of it is great.

[JeffCarney]

Stone classic.

And I do like English folk. ;-)

[The Dark Elf]

FWIW, I absolutely love this album. I really like Unhalfbricking, What We Did..., Full House, Angel Delight and Babbacombe Lee, but I LOVE Liege and Lief. Even then I'm inclined to namecheck Fotheringay's s/t as the single finest Denny hour with a band.

I agree, particularly with "Fotheringay" as a beautiful, haunting song of Mary Queen of Scots. But in "Reynardine" (about a rakish were-fox. Yes, a were-fox, Reynard the Fox being a famous medieval tale and the word 'renard' meaning fox in French), Denny's ability to insinuate evil (particularly when she sings "his teeth did brightly shine") with her remarkable voice is the highlight of the album.