FULL HOUSE

In the early 1970's, the members Fairport Convention decided that it was no longer practical for them to live in various parts of the UK and continue to work together. They therefore bought a disused pub ("The Angel") in the countryside about 30 miles north of London, and moved in together. The story goes that they originally decided against occupying the run down pub, but since Dave Swarbrick had already packed up and was heading for his new communal home, they had a rapid change of heart.

Along with the band members came their families and sundry crew. This resulted in two albums, the appropriately named "Full house" and "Angel Delight". Prior to the recording of "Angel Delight" Richard Thompson left the band to pursue his solo career, but the fact that he continued to live in The Angel is testimony to the convivial atmosphere enjoyed by all.

Released in 1970, "Full House" was Fairport's fifth album in just over two years, something it would be pretty much impossible for today's bands to achieve. This is the band at their progressive (prog folk) best. Gone is vocalist Sandy Denny who went off to form the short live Fotheringay, and gone is founder member Ashley Hutchings. In comes the highly influential Dave Pegg, who is still with the band today.

The absence of Denny's pure tones is of course immediately apparent. While Fairport have always enjoyed the services of a talented array of vocalists, none can really compare with the pure delight of Sandy. On the other hand, the all male line up (for the first time in the band's history) did offer the opportunity to harden things up considerably.

By now, any vestiges of influences from the other side of the Atlantic were gone (although the band did record parts of the album in New York), to be replaced by a far more British feel. The opening "Walk awhile" a Swarbrick/Thompson composition, has a very traditional feel to it, while offering a highly accessible sing-a-long anthem which would serve the band well in the live arena for many years to follow.

There are a couple of medleys of jigs and reels, where Swarb is of course dominant on the fiddle and mandolin, which continue to emphasise the folk roots of the band. It is though the 9 minute "Sloth" which is the real meat here. This understated dirge, once again written by Swarbrick and Thompson, captures the very essence of prog folk. It is atmospheric, perhaps doomy, but wonderfully compulsive.

The song "Poor Will and the jolly hangman" is of historical interest apart from anything else. It was originally included in the album, with sleeves being printed and test pressings made. Thompson however did not want the song on the album, and very late in the day he prevailed over producer Joe Boyd and the song was dropped without replacement. This meant that the track order had to be hurriedly changed to balance the side lengths of the LP. The remastered CD version of the album restores the song and the other tracks to their original positions. Listening to the song now, it is perhaps possible to sympathise with Thompson's insistence on dropping it. The problem though appears to be with the arrangement and the mixing rather than the song or the performances. Indeed, given a little TLC, this could have been developed into another "Sloth". The reality is though that the album sounds better when the song is restored to it.

The remaster also includes a further four bonus tracks. Two of these are different mixes of superb single "Now be thankful", the improbably named B side (see the track listing, but let's just call it "Sir B's?"!) of that single also being present. This is actually a three part medley of jigs and reels consisting of " Biff, Bang, Crash", "The Kilfenora" and "Boston Tea Party". Thus the track title is irrelevant, and an unashamed attempt to secure a place in the Guinness Book of Records! The other bonus track is an early arrangement of the traditional "Bonny bunch of roses", a song which would later form the title track of a Fairport album. The song, which was recorded in Hollywood USA, is very much in the "Sloth" mode, and features a fine vocal performance by Dave Swarbrick. As an aside, Swarb must surely be one of the most under-appreciated musicians to have graced the 20th century. Incidentally, this entirely serious song has an unintentionally amusing moment when Swarb sings "Adieu, adieu forever"; it sound like he is sneezing!

In all, a superb prog folk album which serves to emphasise the importance of Fairport to the genre. The fact that they could produce such a landmark album immediately after the loss of two of their key members is testament to the whole (i.e. the band) being so much more than the sum of the parts when it comes to all things Fairport. Further change was just around the corner, as this would be the last album the legendary Richard Thompson would record with the band.

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