The Troubadour is one of the iconic venues in the country. Founded in 1954, it still occupies the coffee shop in Old Brompton Road near Earl’s Court where it started. It has played host to most of the greats on the folk scene, many before anyone else had heard of them. I say that because this was my first visit – it being in That Lunnon and me a country boy – and also Daria and Jonny’s debut performance there. And, as Daria pointed out in her introduction to ‘Distant Love’, the first time that a song in the Ingush language had been sung on that stage.
They followed ‘Distant Love’ with Daria’s greatest hit, The Moon And The Pilot’, with Daria, resplendent in black and gold, at her expressive best. Then came something new. Daria and Jonny were premiering some new songs – not a follow-up to Long Lost Home – but covers of some of the singers and songwriters who have graced this stage. What better place to air them first?
The first of them was ‘Blowin’ In The Wind’, a song that is so well known that no-one sings it any more. Daria gives a new innocence over some absolutely delicious rolling guitar figures from Jonny. After ‘Amanat’ came ‘Masters Of War’ with Daria playing pulsing shruti and a mini-tambourine strapped to her foot. It is a song that is rapidly becoming relevant once more and one that is very important to Daria; there was a palpable anger in her performance. After ‘Panther’ (modesty forbids me from quoting her introduction) came ‘Northern Sky’. Most singers covering Nick Drake try to find the inner fragility of this notoriously reticent man. The original version of the song is drenched with arrangements that Nick himself disliked but which give it a power but Jonny reduced the arrangement to just a keyboard part and Daria turned it into a torch song. It might be considered revolutionary but it is quite magnificent.
Three more songs from Long Lost Home: ‘Untangle My Bones’, ‘Tamara’ and ‘Only Begun’ followed before they tackled the big one: ‘Who Knows Where The Time Goes?’. Here’s another song that has been sung thousands of times over the years but, over Jonny’s guitar, Daria managed to instil something of herself into it, which is no mean achievement. They encored with another song associated with Sandy Denny, ‘Quiet Joys Of Brotherhood’, with attention drawn to the line “love is lord of all”. It brought the set to a reflective end – another old song that is still important and relevant.
Folking has just had word of the new deluxe edition of Fairport Convention’s fabulous 1975 recording, Rising For The Moon, an album that marked the only studio recording with Sandy Denny and the band members since her return to the group in 1974.
In 1969, the “classic” Fairport line-up recorded and released three albums (What We Did On Our Holidays, Unhalfbricking, Liege & Lief) all within a single year. At the end of that frenetic period, Sandy quit the band to form Fotheringay, This again was short-lived as Sandy soon embarked on a distinguished solo career (some of these albums have also been released as Deluxe Edition series) before being drawn back into Fairport fold. She ‘officially’ re-joined in February 1974 during a four night stint at LA’s Troubadour club. A remarkable live recording of this legendary shows form part of this new release released and can be found on the second disc on this new edition of Rising For The Moon.
It was 26 January 1974, when Fairport became the first rock band to play the Sydney Opera House, the Nine album line-up (featuring: Dave Swarbrick, Dave Pegg, Dave Mattacks, Trevor Lucas, and Jerry Donahue) had been augmented by Sandy Denny, who was now married to Lucas. The result was the ground breaking Fairport Live Convention album (released in America as A Moveable Feast) which confirmed how much the band had benefited from having Sandy back on board. Then only weeks later, Sandy was fully integrated into the band again and the LA Troubadour dates present a Fairport that was at the top of its game. As was often the case with Fairport’s luck in the seventies, the band’s perilous financial situation meant that they couldn’t afford to purchase the tapes from Wally Heider’s Mobile organisation. Over the years, odd selections trickled out but it was only on the 2010 definitive 19 CD Sandy Denny box-set that the tracks featuring Sandy were properly mixed to their natural audible glory. Now, with additional performances by Trevor Lucas and Dave Swarbrick included, fans can enjoy this brief but memorable line-up at its absolute best.
The set list at the Troubadour is also unusual in that it was substantially different to the songs performed on Fairport Live Convention. In fact the recording features several songs that the band have never performed again including: Trevor Lucas’ ‘Ballad Of Ned Kelly’ originally on the ‘Fotheringay’ album, and ‘Down Where The Drunkards Roll’ (Trevor had sung background vocals on the original version on Richard and Linda Thompson’sI Want To See The Bright Lights Tonight). Sandy performs a passionate version of Dylan’s ‘Knocking On Heaven’s Door’ and her own ‘Crazy Lady Blues’ performed here with an added verse and, dipping into the Fairport back-catalogue, with a haunting ‘She Moves Through The Fair’.
Further highlights include ‘Solo’ and ‘Like An Old Fashioned Waltz’ from Sandy’s third album, and a spirited cover of Dylan’s ‘Down In The Flood’. Swarb delivers an effortless version of the ‘The Hens March through the Midden’ and a spirited break-necked performance of ‘The Hexamshire Lass’. Sandy’s signature ‘Who Knows Where The Time Goes’ is there in all its majesty as well as a definite version of ‘Matty Groves’. The band also rocks out on ‘Six Days On The Road’ and ‘That’ll Be The Day’.
With Sandy back in the band, Island Records made a greater commitment to Fairport’s next studio recording and, to that end, Glyn Johns was brought in as producer for Fairport’s 10th studio album. Johns’ pedigree was impeccable: Rolling Stones, Beatles, the Who, the Eagles… and was emphatic that he wanted the new sessions to include only original material with no covers or traditional material.
The album was recorded at Olympic Studios in two blocks. The first sessions began in December 1974, but during a break in January, Dave Mattacks quit and was replaced by ex-Grease Band drummer Bruce Rowland, who played on the remaining tracks and stayed on for the tours following the album release in June 1975.
The album included songs from all members of the band although seven of the album’s eleven tracks were penned in whole or partly by Sandy. Johns made them rehearse the new material, then sifted through to find the best and, on many levels, Rising For The Moon was indeed a triumph. Sandy is in fine vocal form; the band gels instrumentally and songs like the title track, ‘Stranger To Himself’ and ‘One More Chance’ (featuring blistering guitar from Jerry Donahue) are among Fairport’s best ever. Swarb’s ‘White Dress’ was sufficiently strong and was chosen as the album’s only 7” single.
Even Sandy – though happy with the finished album – recognised that the financial and personal strain it had put on the band made a split inevitable and by the end of 1975 guitarist Jerry Donahue and then Sandy and Trevor decided to leave the group. The original Rising For The Moon is now ripe for reappraisal whereas at the time it raised the question was it a Sandy Denny album or a Fairport album? Of course it’s both and, whichever way you look at it, it is one of Fairport’s and Sandy’s best and most underrated records.
Now enriched on this Deluxe edition by 21 additional tracks – including; a beautiful, previously unreleased performance of ‘White Dress’ (discovered in the LWT archive), an alternate mix of ‘Dawn’; a studio demo with Sandy and Trevor of ‘What Is True’; plus Sandy’s home demos of ‘After Halloween’, and ‘King And Queen Of England’, the latter written for the album but never recorded.
The album reviews at the time were largely positive. The Guardian judged the album “their best for six years… it ought to re-establish Fairport as a significant British band.” In the end it wasn’t to be; the rigours of touring and financial problems essentially drove the band to split. A truncated Fairport went on to record their final album for Island, Gottle O’ Gear, and in 1976, Jerry Donahue went off to work with Joan Armatrading; Trevor went on to produced Sandy’s 1977 album, Rendezvous; but within a year Sandy was dead and the folk scene lost its greatest heroine. Despite her solo success, the Sandy many of her admirers remember with most fondness is the lady who fronted Fairport Convention during their glory years. So here then, are the beautiful songs she wrote and the music she made with the band second time around.
01: RISING FOR THE MOON ( 4.08 )
02: RESTLESS ( 4.01 )
03: WHITE DRESS ( 3.44 )
04: LET IT GO ( 2.00 )
05: STRANGER TO HIMSELF ( 2.51 )
06: WHAT IS TRUE ? ( 3.33 )
07: IRON LION ( 3.27 )
08: DAWN ( 3.42 )
09: AFTER HALLOWEEN ( 3.38 )
10: NIGHT-TIME GIRL ( 2.56 )
11: ONE MORE CHANCE ( 7.58 )
12: WHITE DRESS ( 3:24 ) Live on LWT – 9/8/1975
13: DAWN – ALTERNATE VERSION ( 4:11 )
14: WHAT IS TRUE ? – STUDIO DEMO ( 3:16 )
15: AFTER HALLOWEEN – DEMO ( 3:00 )
16: THE KING AND QUEEN OF ENGLAND – HOME DEMO ( 3:12 )
DISC TWO – LIVE AT THE LA TROUBADOUR
01: DOWN IN THE FLOOD ( 3:13 )
02: BALLAD OF NED KELLY ( 3:59 )
03: SOLO ( 5:40 )
04: IT’LL TAKE A LONG TIME ( 5:35 )
05: SHE MOVES THROUGH THE FAIR ( 4:09 )
06: THE HENS MARCH THROUGH THE MIDDEN & THE FOUR POSTER BED (3:17 )
07: THE HEXAMSHIRE LASS ( 2:44 )
08: KNOCKIN’ ON HEAVENS DOOR ( 4:33 )
09: SIX DAYS ON THE ROAD ( 3:38 )
10: LIKE AN OLD FASHIONED WALTZ ( 4:19 )
11: JOHN THE GUN ( 5:10 )
12: DOWN WHERE THE DRUNKARDS ROLL ( 4:14 )
13: CRAZY LADY BLUES ( 3:54 )
14: WHO KNOWS WHERE THE TIME GOES ( 6:54 )
15: MATTY GROVES ( 7:05 )
16: THAT’LL BE THE DAY
Please support us and order via our UK or US Storefront
Police Dog Hogan are a high-energy seven-piece (including fiddle, banjo, mandolin, drums and guitars) that fuses country-folk to a pop sensibility. The band is rapidly building a following through joyous, foot-stomping live performances, having received rapturous receptions at festivals including Cornbury, Larmer Tree, Camp Bestival and Kendal Calling, and in sellout shows in London venues such as Bush Hall, The Troubadour and The 100 Club.
Eliot James coaxes a sharp, electric and contemporary edge from the band’s folk, country and bluegrass-influenced line-up, adding some spectacular harmonies and marshalling the band’s wide-ranging musical passions and influences.
The songs of writers James Studholme and Pete Robinson range from the reflective to the flat-out foot-stomping, interleaved with flashes of rockabilly, blues and Americana. Tim Dowling’s banjo is a constant, surprisingly delicate presence, often mixed with mandolin to produce compelling soundscapes, not least in the “trancegrass” of Black Crow or the simple beauty of Jennifer, a gloriously sunny love song. Distant bluegrass echoes – with a very English twist – also appear in the fiddle-playing of Eddie Bishop, one minute driving the rollicking album opener, Better Go Now, the next weaving sparse, mournful figures in the enigmatic Matilda.
The album also has its anthemic numbers, though few bands can have had the courage – or the songwriting ingenuity – to produce a song like Fraserburgh Train, based on the story of a lone piper on the D-Day beaches.
Everything is welded together by the inventive rhythmic backing of bassist Adam Bennette and Michael Giri, former drummer with The Lilac Time.
FROM THE LAND OF MIRACLES was recorded in Eastcote Studios on tape – the better to capture the acoustic warmth of the band’s approach – and mixed at Abbey Road.
Police Dog Hogan are currently on tour the UK in support of the new CD. For more information and the latest tour news, please visit: http://www.policedoghogan.com/
Please support us and order via our UK or US Storefront