Full House marked the consolidation of Fairport’s transition from West Coast-styled, hallucinogenics-influenced outfit - a British Jefferson Airplane, perhaps – to purveyors of rocked-up, electrified British traditional folk; a courageous move tentatively started with the inclusion of A Sailor’s Life on Unhalfbricking and triumphantly completed on Liege And Lief, perhaps the most influential and important UK rock album to appear since Sergeant Pepper. But Fairport had then lost arguably its two most important contributors, founder and direction-setter Ashley Hutchings and crystal-voiced frontwoman Sandy Denny. New bassist Dave Pegg proved a valuable acquisition with his rocky style, but the other members had to close ranks and take on the vocal chores themselves. They did so, with an initial naivete that retrospectively evinces considerable charm, Richard Thompson and Dave Swarbrick proving to have distinctively different rural vocal deliveries and Simon Nicol reluctantly airing a melodious tenor that would eventually see him become the band’s leading voice.
The other element that newly marks Full House out is the humour and looseness which its illustrious predecessor lacked. With talented but earnest female vocalist Denny no longer having to be accommodated and adulated, the boys were free to have some fun, and it comes across in these grooves, notwithstanding the doomy themes of some of the lyrics: songs about sexual exploitation, sin and death can be funky, as Doctor Of Physick, Sloth and Sir Patrick Spens show. I recall seeing this line-up play the Bath Festival Of Blues And Progressive Music at Shepton Mallet in 1970, and the high jinks on stage would not have been on display a year earlier.
Walk Awhile is a wonderfully swinging opener, with all three lead vocalists taking turns at the verses and fine, fiery harmony and octave work between Thompson’s guitar and Swarbrick’s violin. Sloth is an ominous, downbeat death march that builds to an almost unbearable tension in the lengthy instrumental break as Thompson’s edgy Strat and Swarb’s compressed, wailing fiddle duke it out in opposite stereo channels: perhaps the best instrumental work the band ever produced. The two cheerful jig medleys offer a variety of familiar and little-known traditional tunes, forefronting Swarb’s and Peggy’s dueling mandolins on Flatback Caper and all four string players on Dirty Linen. Spens is a gloriously disrespectful, steady-rollin’ take on that revered Scottish traditional ditty, while Nicol’s amplified dulcimer provides the backbone for that country’s mournful anthem for the dead, Flowers Of The Forest. The Island CD re-release offers a number of bonus tracks, including the unnecessarily lugubrious Poor Will & The Jolly Hangman that had been removed (probably wisely) from the original pressing at the last moment at the insistence of its writer, Thompson, and the brief but excellent non-album single Now Be Thankful, one of the band’s evergreens.
Full House is arguably Fairport’s last really great album, its release being followed by the departure of Thompson for a solo career and his replacement by Jerry Donohue, whose elegant Nashville style prefaced a gentle slide in the direction of country rock. Henceforth Swarbrick would take over the band’s direction as the quality gradually declined until his own departure, when Nicol as the last-standing original member would take the reins. After countless further line-up changes and albums the band remains extant and much-loved to this day, with its annual outdoor reunion at Cropredy in Oxfordshire attracting swarms of the faithful. From: https://therisingstorm.net/fairport-convention-full-house/
