#Fairport Convention #Ian Matthews #Ashley Hutchings #Richard Thompson #folk rock #British folk rock #electric folk #British folk #1960s
It could be said that Fairport Convention was the first true second-generation folk-rock band, in that its initial repertoire and model came not from folk songs, but from imported folk-rock records. In our days of worldwide simultaneous releases and block-long music megastores, it can be easy to forget that in 1967, even LPs on Vanguard and Elektra could be hard to come by in England. To learn songs by Love, Richard & Mimi Fariña, and Jim & Jean commanded the same kind of obscurist archivism that American teenagers of the late 1950s and early 1960s needed to locate Alan Lomax field recordings, Library of Congress LPs, and Folkways releases. This is what Fairport Convention, formed in North London by guitarists Richard Thompson and Simon Nicol and bassist Ashley Hutchings, did to master a repertoire that likely was unduplicated anywhere in the British Isles in 1967. Over the next few months the lineup was filled out by drummer Martin Lamble, singer Judy Dyble, and singer Ian Matthews. Except for Hutchings, all were still in their teens (Nicol was only 16), and, except for Matthews, who'd been on a 1967 pop-rock single by the Pyramid, none of them had played on any records.
"When I received the invitation to check out Fairport I knew absolutely nothing about them," recalls Matthews. "All I knew was that they were beginning to establish themselves as an underground favorite, by playing regularly at the UFO club in Covent Garden. But the crowd I was running with at the time were listening to a completely different genre of music. The day I met the band for the first time they had gathered in a small studio in south London called Sound Techniques, to record their first single. I was between homes at the time and I walked in with my suitcase and a dozen albums under my arm: Tim Hardin, Richie Havens, Tim Buckley, The Byrds, David Ackles etc. I believe these albums got me the job, because it was coincidentally exactly what they were all listening to, plus Dylan, Joni and Richard Farina, of course.
"At the time no one in the band was writing with any seriousness, so we dug deep into that type of approach for inspiration and for stage material. I don't think anyone apart from possibly Joe Boyd had any vision of where the band was headed, or what we might become. We were developing something and placed no boundaries on it. At the back of our minds American folk-rock was the happening thing, both musically and inspirationally. We loved the Airplane, and the two lead vocalist approach appealed to us. Because of our name and our scruffy onstage presence, lots of people around that time thought we were American, and considering the possible rewards, we were not about to attempt to dispel that presumption."
"Wherever Fairport played when we started in '67, there were groups playing improvisational music to a large extent," says Hutchings. "They'd start out on a chord formation and maybe sing a few words, and that would just be the vehicle to go off and paint colors instrumentally, for long stretches. There was really almost no one else tackling the best singer-songwriters and what one might loosely call contemporary folk music. Eclection were the only band I can think of right now touring England at that time who impinged on our territory. Why that is, I don't know. It's just how it was. "And I'm glad it was, really, because we wouldn't have stood out. And we did stand out as a band. In the early days, we weren't that good. But we stood out because we played these short, intelligent, rather lovely songs, and no one else was doing them. Pentangle came from a whole different area. We didn't consider that we were anything like Pentangle. They played acoustic instruments, but also they came largely from the jazz side. They swung the folk. We rocked the folk."
The band's first album, 1968's Fairport Convention, is often dismissed as an irrelevant curiosity due to its dissimilarity to the group's later, more British folk-fueled efforts. To the contrary, it is a highly credible and enjoyable, if derivative, West Coast-styled folk-rock album, owing much to the early Byrds and (particularly in the male-female vocal harmonies and vocal solo tradeoffs) Jefferson Airplane. The songs they covered would have been obscure to almost anyone on either side of the Atlantic: Joni Mitchell's "I Don't Know Where I Stand" and "Chelsea Morning" (both of which she had yet to release), Jim & Jean's "One Sure Thing," the Merry-Go-Round's "Time Will Show the Wiser," and Ben Carruthers's "Jack o' Diamonds," the last of which is a true affidavit to their record-collecting prowess, as it's doubtful the original 45 could have sold more than a few copies. More importantly, the band showed itself capable of writing strong original material in the same mold. From: http://www.richieunterberger.com/fairport.html
