When the Fairport 4-CD box set retrospective came out earlier in the year, the four discs were arranged by themes. However, none of the CDs came across as any sort of flowing concept. The different lineups of the band were thrown together in random order, and the sound quality of the tracks varied tremendously, making a smooth listening experience extremely difficult. How ironic then, that the fifth CD "freebie" of various Cropredy performances turns out to be Fairport's first true concept album since "Babbacombe Lee."

The sound quality of the disc, if not excellent, is at least very good from start to finish. But it is the sequencing of these mostly outstanding performances that gives this item its uniqueness. We start off with the type of music that Fairport is best known for: folk-rock. A huge number of traditional English folk songs dealt with death, and the first two tracks are modern explorations of that theme. "Dangerous" is an excellent performance, and is different from the album version thanks to Chris Leslie's backing vocals and Peggy's incredible bass playing. This is followed by Richard Thompson's "When I Get To The Border", which takes a more celebratory view of the afterlife. Here is Fairport music as we think of it. Suddenly, we are taken back a few centuries with a waltz and and string instrumental which have a classical feel to them. Next we move to that most classical form of music..opera. But it is an operatic version of a traditional song arranged by Vaughn Williams. Maybe there is some relationship here. We see the relationship in the next number, probably the most classicly influenced rock anthem ever, "A Whiter Shade Of Pale." An opera singer doing a folk number followed by a rock star doing a classical number. This duality will continue later on the disc.

Sandy Denny, who certainly had her share of classical influences, is paid tribute to next. Her "Late November" is followed by "White Dress", which will always be associated with her. Sandy, an icon in the folk community, is then followed by the greatest icon of them all....Elvis. Richard Thompson's "Galway To Graceland" shows how Elvis is really still very much alive. To underline this fact, two Elvis numbers follow: "Mystery Train" and "Mess O' Blues." That music is kept alive by Robert Plant, Andy Fairweather Lowe, and "some old salty" who then rocks out tunes by Jerry Lee, Jelly Roll, and Brenda Lee. From Lal Waterson, a name not associated with rock, we go to Pete Townshend, a name not associated with folk. "North Country Girl", a reworking of Dylan's "Girl From The North Country" which itself was a rewrite of "Scarborough Fair." All these musicians being influenced by music that they are not normally associated with.

"Matty Groves," with valuable flute contributions from Ian Anderson just about closes proceedings. We are full circle now, back to the folk-rock with which Fairport is synonymous. But what a musical journey we have been taken on in the meantime. There is one final number: Roy Harper's "Old Cricketer." A fitting number in several ways. It's appropriate in that the Sunday after Cropredy is the Fairport cricket match.

But it also completes the song cycle in that it is another song about mortality. "When an old cricketer leaves the crease, you never know whether he's gone." When old musicians pass on, the music remains, so you never know whether they're gone either. And, as this disc shows, music from different styles and different eras continue to echo and influence musicians, and will always continue to.

The final words on the recording is Simon Nicol asking the crowd "Same time next year?" Not telling the audience, but asking. Yes, we hope that it will be the same time next year, but like Bob Dylan's NeverEnding Tour, everything must come to an end. However, we take comfort from the concept of the disc: that the tree of music is ever growing, with all sorts of amazing cross-polinations always happening

Two minor complaints about the CD. 1) Where is Dave Swarbrick? I know that the 1982 and 1983 shows have had release already, but he was still there in '84 and '85, and has made many subsequent guest appearances. A number with skiffle king Wally Whyton from 1984 would have been welcome. 2) How can you have Tim German's number without including Simon's classic line "That was our fan Tim of the opera?"

http://www.fairportconvention.co.uk
Ken Wexler - September 2002 

The Jolly Hangman