Liege And Lief

Simply, the apogee of British folk rock. Possibly the genre's greatest ever album. Opener aside, everything else comes from the archives of Cecil House but Fairport Convention play the material as if it was their own. Sandy Denny is at her peak here - variously gentle, imperious, confiding and raucous. Listen to the way she inhabits each character as if an actor on both 'Matty Groves' and the most remarkable of all, 'Tam Lin'. I grew up on this stuff.

You know this list has done a number on you when you’re looking forward to British folk records from the late 60’s and early 70’s. How beaten down am I that I wake up on a Sunday, check in to this website and think, “Fairport Convention…sweet, this should be good”? Seriously, though. The British folk on this list has been the most consistently enjoyable genre that I was previously unfamiliar with. It’s surprising because I typically don’t have the time of day for American folk music. The British folk I’ve been exposed to because of this list tends to be less tied down by tradition and more willing to experiment than their American counterparts. Fairport manages to strike a great balance between tradition and modern, with atmospherics and progressive song structures weaved into these traditional songs. The amazing guitar work of Richard Thompson and Sandy Denny’s exceptional vocals are standouts, but, really, the entire group is firing on all cylinders. Leige and Lief is an engaging and exciting folk rock record; highly enjoyable on a grey spring morning.

The band slaps hard and Sandy Denny's voice, both beautiful and otherworldly carries the melodies superbly. There's a ton of subtext and depth to the songs and arrangements, leant an extra level of emotion due to the personal tragedy and upheaval the group went through around (or just before) the time they met to record the album. Blending the ancient with the supernatural and turning it into something distinctly modern yet timeless this is the ultimate folk-rock record.

I am generally pretty wary of folk music but I think that mostly applies to American folk music with it's tendency towards an often forced twang. This, however, works for me. I don't know if it's just being that much closer to the source or if it is that it actually rocks pretty damn hard when it wants to. I think alot weighs on the power of Sandy Denny's voice and Richard Thompson's guitar playing.

A beautiful album that made my hairs stand on end, even on the 3rd or 4th listen. Highlights include Reynardine and Matty Groves. The arrangements are brilliant and the vocals are gorgeous. An album that took me completely by surprise and one that I will revisit often.

yay! more folk rock

I didn't expect to enjoy this, but it's a really solid record, with interesting lyrics and beautiful singing.

Fantastic Proto Bardcore. Makes me want to go to Ren faire

I've listened to several Fairport Convention albums and this is the one. Fantastic energy. The vocals are top notch. I don't know why I never put her and the Battle of Evermore song together. This is an excellent listen on a Sunday morning. I was supposed to be at Bonnaroo today but it got rained out. So it's the backyard and coffee with this masterpiece. Tam Lin kicks ass.

This is seriously an awesome album. I'd never heard of these guys, but definitely getting early Jefferson Airplane vibes in songs like Tam Lin as well as the lead singer's voice. There are also really cool folk elements throughout. This is definitely a complete album, and something I'll put on my list of stuff to go back to. That rare 5/5 that I'd never heard or even heard of.

I've never heard of Fairport Convention before but really liking this celtic kind of rock from the 60s. Matty Groves was really a great song, Tam Lin was also very good too, and Sir Patrick Spens. I like the vocalist, she sounds sort of like Grace Slick. I think I'll be revisiting their albums again and I think it's a 5 star for me. I learned a little bit about the singer, Sandy Denny too and didn't realize she sang with Led Zeppelin on Battle of Evermore, one of my favorite songs.

I was only ever going to give this five stars

So I really like this! I think I would consider buying this whole album, actually.

Only on 'Reynardine', but I'm really feeling this. Sandy Denny has a gorgeous voice. I'm leaning 5 stars on this one, I'm such a big fan of this electrified yet traditional folk vibe.

Actually quite enjoyed this style. Would love to explore more of this British folk rock.

N'étant pas un grand fan de techno, cet album m'a tout de même donné envie d'avaler trois cachets d'ecstasy et de passer une nuit entière en rave party au milieu d'autres personnes baignées dans leur sueur.

This album is utterly ridiculous, but I can't help but love it. Renaissance Faire tunes that sound like the soft parts of Zeppelin songs with some beautiful singing from Sandy Denny about...i don't know, elves and jousting or some shit in the forest? Then it gets crazy and there are these metal-esque breakdowns but with the same instruments, which kind of broke my brain. Seriously, this shit gets really rocking in parts. Then back to elves and goblins or whatever. Drugs are an amazing creative tool sometimes.

4.7 - They have really solidified as music greats in my eyes.

forward thinking hobbit music

Ren faire folk music and I love it

Authentic Renaissance Faire energy! Fairport Convention have dwelled in my musical blind spot for decades, but no more. Rough-hewn and enchanting, highlighted by lithe and mystical vocals from Sandy Denny. It's fascinating to hear the music than influenced so many Led Zeppelin songs!

Like a 60s Ren faire

Cool mix of folk style with more modern/electric instruments

Loved it. What a great way to communicate folk music. There's clearly a tradition here I haven't come close to tapping. That is, I liked playing folk forms at one point and am intrigued by some contemporary avant-garde approaches to old tunes, but felt like the pop-folk approaches were mostly cheap. I was wrong.

I was expecting dancing hobbit hippy music, which this was, but surprisingly it was really good dancing hobbit hippy music. Richard Thompson, of course, but there's something about Sandy Denny's voice.

I actually liked this a lot more than I anticipated. Has a bit of a Renn Faire feel to it.

Fun. Never heard of them before.

Really enjoyable album and fresh sounding despite being over 50 years old, Reynardine in particular wouldn’t sound out of place on the BBC Introducing stage. Very good!

This was good. The distinction between American and British folk is a thick enough line to render them completely different genres. This is so well done. Equal parts bard-like rumination and highland excitement, it could pass for a soundtrack for a very good film. Really enjoyed this all around.

That was nice. British folk rock isn't what I really needed today, but if it's an album as good as this one, I'm okay with whatever. At least this album is important to the development of the genre and thus has a valid reason for being on the list. You wanna know another valid reason as to why this is on the list? The reason is that the album is good. I really liked this album. The sound is pleasant and has this modern medieval feel to it. Like, you can clearly tell that this was made in the late 60s at the earliest, but the instruments make me feel like I'm at a casual ren faire, if that's even a thing. The singing is great. Sandy Denny's vocals are just wonderful. The writing is great too. It captures the vibes perfectly. What can I say? This is just a great folk rock album that simultaneously feels classic and a bit ahead of its time too. Some of the instrumentation kind of reminds me of what Led Zeppelin would end up doing in the 70s, so hearing this in 1969 is pretty cool. Light 4/5.

I think this is the first time I have heard British folk. At least to my memory/knowledge. I found this really enjoyable. I didn't dig in to find out if any of these are traditional songs but they sounded like they could be. Beautiful singing and beautiful backing instrumentation. Look forward to listening to this again.

I saw someone in another review refer to this as "proto bardcore", which was a new term to me; I honestly have not been able to forget that very amusing, very appropriate description. This album has all the making of fantastical, Celtic, medieval, renaissance faire folk music, but with a slight rock edge. The combination of folk and obvious electronic instrumentation back in 1969 seems a bit ahead of its time. Not to mention when considering the medieval vibe, this album is truly an act of anachronism. This was a fun, obscure, weird listen! I can see where this wouldn't be everyone's cup of tea, but it's definitely mine.

Wanted to hate it but I couldn’t!

Wow, a folk album with actual melodies, interesting instrumentation, and someone how can actually sing. The Byrds wish they could write something as interesting as this album. Despite all that, I am not blown away by this album. It is fine, but for a folk album it is on the higher end of the scale. high 3.

Grab your staff and cape, we're taking some hobbits on an adventure to Kmart.

Traditional folk played like it was classic rock. For some reason, it was trendy in the pop-rock world for a few years. For even less obvious reasons, it's been highly regarded ever since

Nicht meins, wobei Tam Lin (für mich) in die richtige Richtung weist. Und sofort Assoziationen von Jefferson Airplane/Grace Slick auslöst.

This shit belongs in the background in a Wes Anderson movie

Don't really have any interest in this hey nonny nonny folk stuff, though I imagine it's very representative of the 60s flower power thing. One song in isolation is quite nice enough, decent vocals, but a whole album is painful. Could have cried when the last song came round and it was 10 minutes long. I'm probably an cynical uncultured prick but this sort of folk feels so performative, like appearing to be a hippie is the most important thing, when I think this whole movement was meant to be against materialism and pretension. Don't know what I'm on about really but this album isn't very good.

Reynardine is a hell of a way to scare the listener off. Get past that and enjoy the folk impurism on offer. Thompson's guitar and Denny's drugged-out voice are too rock for chastity lullabies and keep the spectre of let's-go-back-to-purer-times idealism-cum-conservatism at bay.

Far too much folk and country music in this. "Most Influential Folk Album of All Time"? I'll take your word for it. I'll give it an extra star for that. 4/10

horribile, too much doodleydoo

My teenage big sister loved this at the height of me hating my big sister. I grew to love her, but not Fairport Convention. Fiddly diddly dee dee medieval knights and tragic love oh-I nonny no. Flutes, gong and tambor play-ed in time, Sentence like Yoda for to scan the rhyme.

This is a real stinker. Easy-listening folk rock with not much going on. 2/10

## Liege & Lief: Fairport Convention's Electrified English Epic - An In-Depth Review Released in December 1969 against a backdrop of personal tragedy and cultural upheaval, Fairport Convention's *Liege & Lief* stands as a landmark achievement in British music. Forged in the aftermath of a fatal van crash that killed drummer Martin Lamble and Richard Thompson's girlfriend, the album emerged as both a cathartic rebirth and a revolutionary manifesto. It fused centuries-old British folk narratives with rock's visceral energy, creating a new genre and redefining English musical identity. This review dissects its lyrical depth, musical innovation, production, thematic richness, and enduring influence. ### **1. Lyrics: Ancient Bones, Modern Blood** *Liege & Lief*’s genius lies in its radical reanimation of traditional ballads, stripping away Victorian-era folk preservation's staid formality to expose raw, timeless human struggles. - **Narrative Brutality & Class Warfare**: Five of the eight core tracks adapt traditional tales, foregrounding oppression, betrayal, and defiance. "Matty Groves" (Child Ballad 81) is the centerpiece: an 8-minute saga of adultery between a commoner and a noblewoman, climaxing in a duel where Lord Donald kills Matty, only for his wife to declare her preference for the dead lover. The final lines—*"But bury my lady at the top / For she was noble kin"*—underscore how class hierarchy persists even in death . "The Deserter" exposes state brutality against conscripts, while "Reynardine" (a werefox seducer) and "Tam Lin" (a fairy-cursed knight) explore predatory power dynamics through supernatural allegory . - **Original Songs as Homage**: The band’s compositions mirror traditional motifs. Sandy Denny and Ashley Hutchings’ opener "Come All Ye" is a rousing call to arms for "rolling minstrels," while Richard Thompson’s "Farewell, Farewell" (with its *"Farewell to the lands where I never was well"* refrain) echoes exile themes. "Crazy Man Michael" (Thompson/Swarbrick) is a psychological parable where a man murders his lover, mistaking her for a prophetic raven—a tale of guilt and madness that feels plucked from folklore . - **Reclaiming "Englishness"**: Rejecting jingoistic nationalism, the album excavates a people’s history of violence, sexuality, and resilience. As scholar Rob Young notes, Fairport restored "the guts and spontaneous vigour" to folk by freely merging lyrics and melodies from disparate sources, defying the rigid "authenticity" enforced by 19th-century collectors like Cecil Sharp . ### **2. Music: Electric Jigs and Spectral Melodies** The album’s sonic alchemy lies in its seamless fusion of traditional instrumentation and rock intensity, executed by a band at its creative peak. - **Folk-Rock Architecture**: Dave Mattacks’ drumming (replacing Lamble) provided a rock backbone without overpowering acoustic textures. Tracks like "Matty Groves" begin as acoustic ballads, then erupt into a 3-minute instrumental coda where Thompson’s snarling guitar and Swarbrick’s frenetic fiddle duel over a propulsive rhythm section, mirroring the song’s violent climax . - **Swarbrick’s Transformative Role**: The fiddler’s arrangements were pivotal. His "Medley" (a whirlwind of reels including "The Lark in the Morning") showcases virtuosic fiddle lines interwoven with Thompson’s melodic guitar, while "Tam Lin" uses dissonant viola drones and offbeat power chords to heighten tension . - **Denny’s Vocal Mastery**: Sandy Denny shifts from the ethereal whisper of "Reynardine" to the defiant roar of "Matty Groves," embodying characters with Shakespearean range. Her phrasing in "The Deserter"—especially the line *"May the Lord have mercy on them for their sad cruelty"*—infuses moral complexity into a soldier’s plight . ### **3. Production: Rustic Authenticity Meets Studio Craft** Recorded at London’s Sound Techniques studio in October–November 1969, producer Joe Boyd and engineer John Wood captured the album’s live-in-a-room energy while enhancing its atmospheric depth. - **Organic Clarity**: The mix prioritizes clarity: Denny’s voice sits centrally, Swarbrick’s fiddle is bright but never shrill, and Thompson’s guitar solos ("Matty Groves") pierce through without distortion. The sparse arrangement of "Reynardine"—acoustic guitar, brushed cymbals, and vocal—creates a haunting intimacy . - **Timeless Sonic Palette**: Avoiding psychedelic gimmicks, the production leans on natural reverb and minimal overdubs. The result feels both ancient and urgent—a stark contrast to the era’s studio excesses . ### **4. Themes: Oppression, Agency, and Cultural Reclamation** *Liege & Lief* dismantles romanticized Englishness, revealing a history of class struggle, gender inequality, and state violence. - **Class and Power**: "Matty Groves" and "The Deserter" highlight systemic oppression. The latter’s press-ganged protagonist suffers 303 lashes for desertion—a stark critique of militarism . - **Gender and Supernatural Control**: Women navigate male predation in "Reynardine" and "Tam Lin," where Janet rescues her lover from a fairy queen through physical determination. These songs frame female agency within patriarchal constraints . - **Reclaiming Tradition**: The album rebelled against folklorists who sought "pure" songs "untainted by outside culture." By electrifying and recombining folk sources, Fairport reclaimed the genre for a new generation, offering a "people’s history" of England . ### **5. Influence: The Blueprint for British Folk Rock** *Liege & Lief*’s impact is immeasurable: - **Genre Creation**: It codified British folk rock, inspiring Steeleye Span (founded by Hutchings) and Pentangle. Bands like Led Zeppelin ("Battle of Evermore") and Jethro Tull incorporated its aesthetics . - **Enduring Legacy**: Voted "Most Influential Folk Album of All Time" at the 2006 BBC Folk Awards, it birthed the annual Cropredy Festival, where Fairport still performs the album in full . - **Cultural Bridge**: It proved folk could be progressive, paving the way for artists like Kate Bush, June Tabor, and modern folk-punk acts like The Pogues . ### **Pros vs. Cons: A Balanced Verdict** | **Pros** | **Cons** | |-------------------------------------------|-------------------------------------------| | **Revolutionary Fusion**: Created a new genre by merging traditional folk with rock intensity. | **Pacing Issues**: "The Deserter" feels monotonous to some; "Reynardine" underutilizes the band . | | **Narrative Depth**: Lyrical themes of class/gender oppression remain resonant. | **Cultural Specificity**: Non-UK listeners may struggle with archaic dialects . | | **Denny’s Vocals**: One of rock’s greatest vocal performances. | **US Impact Limited**: Folk-rock was already established there; less groundbreaking stateside . | | **Swarbrick’s Arrangements**: Fiddle/viola work redefined folk instrumentation. | **Bonus Tracks**: Later editions added weaker outtakes (e.g., "Lady Is a Tramp") . | | **Production Authenticity**: Organic sound has aged exceptionally well. | **Lineup Instability**: Denny/Hutchings left immediately after, fracturing the magic . | ### **Album Track Summary & Themes** | **Track** | **Type** | **Key Themes** | **Highlights** | |--------------------|----------------|----------------------------------------|-----------------------------------------------| | **Come All Ye** | Original | Unity, Artistic Revival | Denny’s rallying cry; Swarbrick’s soaring fiddle | | **Reynardine** | Traditional | Seduction, Predation | Denny’s ethereal vocals; sparse arrangement | | **Matty Groves** | Traditional | Adultery, Class Conflict | 8-min epic; fiery guitar/fiddle duel | | **Farewell...** | Original | Exile, Loss | Thompson’s melancholic guitar; Denny’s delivery | | **The Deserter** | Traditional | Military Brutality, Forgiveness | Swarbrick’s strings; Denny’s moral urgency | | **Medley** | Instrumental | Celebration, Tradition | Energetic jigs; band’s technical prowess | | **Tam Lin** | Traditional | Supernatural Love, Female Agency | Power chords; Denny’s storytelling | | **Crazy Man Michael**| Original | Guilt, Madness | Haunting melody; symbolic lyrics | ### **Conclusion: The Undying Legacy** *Liege & Lief* transcends its "folk rock" label. It is a radical act of cultural archaeology, resurrecting England’s buried voices through electric guitars and fiddles. While minor flaws exist—pacing unevenness, cultural specificity—its virtues are monumental: Sandy Denny’s voice, Swarbrick’s arrangements, and the band’s courage in forging beauty from trauma. Fifty-six years on, it remains a beacon for artists seeking to honor tradition while defying its constraints. As Richard Thompson reflected, singing centuries-old lyrics revealed their "urgency" and power—a power *Liege & Lief* unleashed forever . > **In essence**: A seminal work that transformed tragedy into a timeless, electrified tradition.

I adored this! I went in blind and came out ready to buy a cloak and a ticket to the Scottish Borders. Who knew centuries-old murder ballads, fae kidnappings, and jigs could charm me so? I apparently have to start planning a trip to Carterhaugh, Arundel, and Cropredy… purely for “research.”

5/5 - Folksy ... Immediate presence ... Can imagine them playing Newport - Relaxed at times, urgent at others ... Good flow - "Dreamy" production ... - Slides towards jam band territory at times - A record that feels like it was made by people who really believed in their art to transgress and transform.

Does not start out as strong as Genesis Hall, but takes a couple child's ballads and transcends - Matty Groves is a hard pipe hitter of a song, but Tam Lin sets standards that still haven't been matched.

It’s not often I give a 5 to an album I haven’t heard of, let alone an artist/band I haven’t heard of. Incredible music with unbelievable vocals. I’ve had Matty Groves on repeat for days.

Not particularly my thing but if you are going to understand music you have to admit this is the seminal modern English folk album.

really enjoyed this! i've liked other stuff i've heard by fairport convention, so i knew i would probably like this too, but i think this may be my favorite that i've heard. it's definitely got that folky feel but it's a little more rock-y at points, something that i really liked. sandy denny's voice is one of my favorites so that was also a plus. really great album that i am definitely coming back to!

Great stuff, I hear so much of later Americana, roots, and folksy music.

Wow this was really good. Like really really good. Like tickling my balls good. I think I’ve heard of this album before in just my general awareness of solid folk albums but never had I listened to it before. Really just a masterful album, you can hear the influence of it in plenty of artists to come after and the styles and influences it borrowed from to craft this record. Old timey medieval folk music just hits different.

Matty Groves is, of course, a huge bop and there are some other great songs here. Enjoyed this.

Wow I loved this so much. Props to my boy Lief Erickson.

1969. London. Sandy Denny – vocals. British folk rock.

This is a highly regarded album in English Folk circles and regarded as one of the best folk rock albums ever. Don’t feel qualified enough to agree or dispute this but it is an album I really like and have in my collection. Wasn’t always the case as Fairport Convention were not to my taste in my younger days. It is only becoming older that I have become to appreciate them so probably an indication as to the age group they appeal to. No I’m not elderly bearded chap who drinks real ale and cups his hand to his ear when singing. As regards Fairport it was more a case of becoming aware of Sandy Denny and what a brilliant singer she was. Two lovely songs highlighting her talents are on this album Reynardine and Quiet Joys Of Brotherhood (Ok I know this wasn’t on initial realease but its on my reissue, so good enough for me) I could and did today keep listening to these two tracks on a loop such is their beauty and calming effect they have upon me. Matty Groves always raises a smile when I listen and makes me wonder as a traditional song if it is actually based on a true story. Reading the songs history is very interesting. Jigs and reels are not everyone’s cup of tea and a reason why some may give the album a wide berth. Must admit myself I need to be a right mood to listen at home but in a folk club environment they come alive and i would defy anyone not to at least tap their toes in that setting. But as I say it is Sandy Denny that really makes it a favourite album of mine. Any album featuring her beguiling voice is a winner in my book but this one is exceptionally good. 5/5 6/5/25

This should be interesting.....very good just not my cup of sage

That golden mystical sound

Weee!

9/10 Traditional British folk is an odd genre - I listened to this on my way to a beer festival in the West Country (UK), and I couldn't think of anything more fitting! I love it because the band, and the guitar especially, lifts above the trad folk. And Sandy Denny's vocals are genre defining. Thoroughly enjoyable, much better than I expected

This album defined the British folk rock movement. With guitar from Richard Thompson - one of the finest guitarists anywhere - and vocals by the incomparable Sandy Denny, this album is the shit.

Fantastic vocals from Sandy Denny, influential and rocks hard.

Favourites: Come All Ye, Matty Groves, Tam Lin, Crazy Man Michael

Surprised myself by absolutely loving this.

Not familiar with a lot of Brit folk, this caught me by surprise with how much I enjoyed it. I am an overall folk fan and I like that this album stayed true to folksy roots as much as possible while using modern rock instruments and modernized arrangements. The vocals stand out as versatile and dynamic. The string arrangements in general were fantastic and the fiddling in particular was beautiful. Matty Groves and Medley stood out to me as favourites, probably in large part because of the fiddle. Yes Matty Groves was 8 minutes but every minute was worth the listen. Definitely an album that will stay in my library.

Following “Unhalfbricking”, this is another stellar 5 star album.

Chill folk

I think every moment of this album is perfect, jigs included. I also think of all the casualties of the era Sandy Denny is one of the saddest because I think during her time the UK music industry didn't really know what to make of her. If she'd been born a little later into the punk era her creativity might have had a better chance of taking centre stage and she could have presented herself more often on her own terms

As another reviewer said, I was only ever going to give this five stars. I’ve loved this album for years and it includes two of my favourite tracks of all time in any genre (Matty Groves and Crazy Man Michael, the former being the anthem of the late lamented Oxford Arthurian Society). If my entire music collection were wiped out this is one of the first things I’d replace together with Pentangle’s Basket of Light, which had better be in the remaining 800 albums or else.

Top marks for an album that could have been made just yesterday, while keeping traditional British music alive. And it's going in my Tidal library.

Great album - the transition of folk into a more folk-rock hybrid genre is clear from this record. You can see the progression to modern artists like Frank Turner. In Matty Groves we have a cracking 8 minutes long folk song with a rocking guitar solo! What's not to like The vocals are amazing too - Sandy Denny has a captivating voice. I wasn't aware she'd died so young until today. The fiddle on the medley just makes me want to jig, so fun Can see why not everyone would love this but it definitely appeals to my taste

British folk rock was at its peak in 1968-1969 and Liege And Lief is one of the finest albums in the genre. The layers and depth of the music is just incredible. Sandy Denny had the best female British folk rock voice ever. I'm fortunate enough to have a copy of an early UK pressing and it sounds just amazing - produced by Joe Boyd on the Island label (it seems everything Boyd touched those years turned to gold). Perfection.

There was something undoubtedly authentic and grounded about Fairport Convention's 'Unhalfbricking' that I appreciated—almost like it was unabashedly human in nature while simultaneously showcasing this near-alien visage. There's a reason they're considered the best British folk rock band of the late '60s - their sound was so dense and each instrument held so much weight in these finely curated mixes. My feelings towards this record are nearly identical to that one. I'd say the song 'Matty Groves' off this album even trumps any other Faiport song I've heard. This record, in general, played up the band's pre-existent psychedelic tendencies - but the minstrel nature of this epic cover of the classic ballad was easily the most hypnotic thing here - boasting lead vocalist Sandy Denny's best falsetto. And she does have such an angelic voice that shines through on this album more than their last - perfectly hovering over these complex Celtic and medievalist grooves. 'Farewell, Farewell' was another highlight here, despite it containing the album's most conventional rock instrumentation, it still very much showcases Sandy's knack for writing these very heartwarming, yet somber lead melodies. I also feel similarly about the closer 'Crazy Man Michael'. On the lyrical front, I'm not ashamed to admit that it mostly went over my head. It's very allusion-heavy and follows that twisted story-driven style that many Dylan tracks from the '60s did. I'll save my lyrical diving for a second listen, I was just enjoying this experience at face value on this first one. And it was quite the experience, filled with unique genre fusions, evocative imagery, and above all else, the human soul. When I think of the genre "folk music", I mainly associate it with a particular singer-songwriter style. Though if there ever was a band that highlighted that "folk" bit of the genre tag, it'd be Fairport Convention. Because listening to their music feels like stumbling upon something important - even if you're not entirely sure why.

This album is awesome. Sandy Denny and Richard Thompson are British Folk/Folk-Rock legends for a reason. My Celtic Folk band used to perform Matty Groves. It's great to hear a more rock-oriented version (with a guitar solo!) that uses the darker version of the lyrics. The rockin' Irish fiddle tune set in the middle of the album is fantastic. 5 stars.

One of the greats - innovative and brilliantly played, the start of folk-rock. The mix I am listening to has the drums too far forward in 'Come All Ye' and it makes the song seem rather repetitive unless you listen to the soaring, almost jazz-like, instrumentation. Sandy Denny is just coming in to her own in this album and the vocals fly; what a shame she died so young. Ok it may not be everyone's taste (I am no great lover of long traditional ballads either) but the arrangements keep you engaged and the lyrics are so beautifully sung and clear that they allow you to follow the story. This is a real break for Fairport from their previous 2 albums and Dave Swarbircks fiddle must be a central instigator; it really does come to the fore here and, along with Thompsons guitar and Dennys vocals makes a real statement. Almost prog rock in places - listen to the last track! All-in-all, brilliant.

REALLY solid. What I imagine fairy folk rock to be

I don't really know why I liked this as much as I did. I figured it was either a high 4 or a 5 star album, even though it doesn't feel "perfect". I went and listened to some other Fairport Convention albums, and this does indeed seem to be the sweet spot between their American-tinged folk, and the pop-folk they ended up playing. I'm going with a slightly confounded 5 stars.

Amazing all around.

Just beautiful

na ez!!! ❤️ különösen imádom a medleyt a közepén.

Fantastic folk album. Loved every bit of it.

I really enjoyed this, although upon seeing the album art I could have sworn I had reviewed this one before (must have recently discovered it on my own somehow). Loved the traditional sounds, while also incorporating the sounds of the 60s in a more accessible manner. Soothing, sad, funny, this had it all. Beautiful smooth vocals, laid back melodies.. just great! 4.5/5

British folk rock. Venga, un 5.

9/10. A bit of a slower start than the last one but fantastic all around. Great story telling, great jams. Loved it.

The electric music blends perfectly into the old folk songs.

That voice is mesmerising, who knew I quite like folk.

After discovering this album, one thing that I really enjoyed about it, is that’s it’s really softened my heart to folk music. This is an album I’ll definitely be coming back to in the future.

Love this album. It's so weird but really drew me in. I tried looking for other stuff with a similar vibe (including other work by Fairport Convention) but nothing really hit the spot. Feel like they caught lightning in a bottle on this one

Me sorprendió gratamente porque no lo conocía. Qué buen disco, lo volveré a escuchar.

Honestly very fun. What a voice!

Wow what a masterful showing of talent. The breakdowns, solos, hell just the playing all over this album are incredible. Sounds like a description for somw prog or metal but this album sounds completely folk the whole way through. Amazing

I loved this entire album. It was a vibe, and now I’m listening to everything on the deluxe version.

Funny, I just listened to this two days ago and wondered if it was on the list. Glad it is. This album is fantastic, and I'm not even into this genre. These guys manage to do a lot with a little, as these songs tend to be very simple (often centering around one chord), and they also tend to be pretty long. And yet they find ways to keep things interesting: subtle changes in dynamics and intensity, sympathetic performances from the band, and of course Sandy Denny's understated and plaintive performances. Plus, the stories are great. Tam Lin is a favorite. My only complaint is that I wish the mix was a bit brighter and a touch more open, as these songs feel like they were recorded in a closet. So, 4.5 stars, rounded up.

Deep, dark, weird tales of crows and foxes and death and vengeance, intensely performed.

This album was incredible. Despite it being clearly folksy in nature, there's something about this album, and I can't quite put my finger on it, but it sounds really ahead of its time and quite modern. Really dig this one.

Nearly a whole album of my favourite Fairport Convention tracks. Crazy Man Michael the only dud for me.

I don't know what it is about Fairport Convention, but their music just hits the spot. Combination of beautiful vocals, great melodies, some guitar solos, a bit of melancholy in the music, it just creates a perfect blend, just like the previous record by Fairport on this list. Great music, easily 5/5. Looking for some vinyls straight away.

Folk rock perfection on this one.. Matty Groves is just outstanding.. Sandy voices and Thompson's solo at the end. Then there is Tam Lin.. Wow..

Been a fan of Richard Thompson for many years and Sandy Denny has such a great voice that can swing from folk to psychedelic rock. This record is a a great listen.