Fairport Convention "Fairport's Cropredy Convention - Aug. 15, 2009"

Fairport Convention with special guests
"Fairport's Cropredy Convention"
Aug. 15, 2009
Bootleg

Fairport Convention's annual reunion has become one of England's must-visit summer festivals, offering a variety of musical acts ranging from classic rock to folk and punk, culminating in a mammoth performance from the venerable Fairport featuring former band members and surprise guests. Past festivals have featured diverse guests including Jethro Tull, Robert Plant and Midge Ure.

This year's performance was a bit stale, unfortunately. Much of the set was similar to Fairport's recent concerts with no real musical surprises from the current band. That's not to say the performance was bad - "Fame and Glory" the title track from Fairport's latest CD was a highlight, as well as, "Reynardine" which was ably sung by Chris Leslie. And of course the final one-two punch of "Matty Groves" and "Meet on the Ledge" never fails to please.

And only two former members participated this year - guitar legend Richard Thompson, who led the band in a pair of numbers from his solo album "Hand of Kindness" and drummer Dave Mattacks, who sat in for most of Fairport's 30-song set.

Longtime Fairport cohort Ralph McTell (who had performed earlier in the festival) also joined Thompson, Mattacks and current Fairport bassist Dave Pegg for a pair of numbers from their occasional bar band, The GP's, but mostly the rest of the guests were obscure folk musicians or performers who added ambience and a local flavor, but did not bring the crowd to its feet.

With one exception.

The lackluster Fairport performance and the dearth of guests was more than made up for by a mini-set from Yusuf, formerly known as Cat Stevens, who, backed by Fairport and Thompson, played two stunning songs from his lastest CD, "Roadsinger," as well as three classics from his pre-Islam days. The new material was strong, but the crowd gave its loudest cheers to the smash hit "Peace Train."

The recording quality of this show is generally excellent, with enough audience to set the proper ambience - the only major flaw is some onstage electrical trouble marring Yusuf's between-son patter at one point.


Singer-songwriter Yusuf, formerly Cat Stevens, performs with Fairport Convention at the annual Fairport's Cropredy Convention on Aug. 15, 2009. Photos taken by the original taper of the show.

Oysterband - "Rise Above"

Oysterband
"Rise Above"
Omnium Records
Released 2002

England's Oysterband has been plying its particular brand of politically-charged folk rock for 30 years, and this outing from 2002 stands as one of the group's strongest.

After albums like "Holy Bandits" and "The Shouting End of Life," "Rise Above" is comparatively understated - only "Wayfaring" hits the energy level of earlier classics like "When I'm Up (I Can't Get Down)," making the album a more contemplative listen. Adding uillean pipes throughout the album, courtesy of guest piper James O'Grady, gives "Rise Above" a more global feel as well, expanding it beyond traditional English folk rock.

While early works were fueled by a hatred of Margaret Thatcher, latter-day Oysters takes a more global approach to its politics, which lie slightly to the right of anarchist tub-thumpers Chumbawamba (Incidentally, Oysterband joined Chumbawamba for the song "Farewell to the Crown," a b-side to the hit "Tubthumping").

Globalization and drug over-prescribing are targets on songs like "Uncommercial Song" and "Shouting About Jerusalem." But most of "Rise Above" is geared more towards the personal than the political.

"If You Can't Be Good" and "The Soul's Electric" celebrate the sheer joy of living despite the pain and horrors around the world, while "My Mouth" yearns for improvement and the unattainable. The title track instructs the listener to "Rise where shadows fall / till the pain can't touch us all."

Oysterband hasn't forgotten its traditional roots, either. One of "Rise Above"'s highlights is an anthemic rendition of "Blackwaterside," a sad tale of love spurned popularized vocally by Sandy Denny of Fairport Convention and instrumentally by Jimmy Page of Led Zeppelin (as "Black Mountain Side"). Contrasting is "Bright Morning Star" - a spiritual performed a cappella - which brings "Rise Above" to a beautiful close.

Buy "Rise Above"

Roy Harper - "Flat, Baroque and Berserk"

Roy Harper
"Flat, Baroque and Berserk"
Harvest/EMI Records
Released 1970

Best known for his high-profile fans like Ian Anderson, Jimmy Page (who dedicated the Led Zeppelin song "Hats Off To (Roy) Harper" to him) and David Gilmour (who invited him to sing lead vocals on the Pink Floyd hit "Have a Cigar"), folksinger Roy Harper has been a fringe figure on the British music scene for over 40 years. He has also recently been rediscovered by the current crop of "freak folk" singers like Joanna Newsom, who performed with him in London in 2007.

"Flat, Baroque" is his fourth album, a curious blend of whimsy and righteous anger, that doesn't quite hang together. The best moments on the album are the shortest and longest tracks - "Francesca" and "Davey" clock in at less than 90 seconds each and are beautiful, tight melodies.

Contrasting is "I Hate the White Man" - an eight-minute epic that examines the history and justification of prejudice in convoluted, Dylanesque wordplay. The powerful tune, recorded live for the album, is reminiscent of Phil Ochs' bleak examination of American history, "When in Rome."

In "Tom Tiddler's Ground" you can hear the roots of Jethro Tull's acoustic explorations, and the song is another high point to "Flat Baroque" despite its vaguely obscene-sounding title.

The album closing "Hell's Angels" is another interesting detour - a full electric jam with British proggers The Nice. Harper's effects-drenched guitar provides a nice contrast to some surprisingly tasteful organ playing from Keith Emerson.

The rest of the album, unfortunately, doesn't register. Songs like "East of the Sun" are pleasant, but not memorable - kind of like Donovan when he's not in his childlike hippie persona.

Harper is at his best when he's taking chances - even if they fail, they are interesting. But when it comes to a basic three-minute folk song, he simply doesn't stand out in a crowd populated by the likes of Dylan, Ochs, Mitchell, et. al.

Buy "Flat, Baroque And Berserk"