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Rising for the Moon

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Album Review

Although there's nothing here as overpowering as "Sailor's Life" or "Sloth," this record is still a choice release, as Sandy Denny's official return to Fairport. She wrote or co-wrote seven of its 11 songs, and dominates most of the others with her voice. This lineup (Denny, Dave Swarbrick, Dave Pegg, Jerry Donahue, Trevor Lucas, and Bruce Rowland, with Dave Mattacks — who quit partway through — drumming on some of the tracks) went for the gold with rock veteran Glyn Johns in the producer's spot. The result was the only Fairport album done after the departure of Richard Thompson that doesn't sound anemic in the electric guitar department. Some of the songs, especially the title track and "Restless," have the feel of compact, breezy pop/country-rock, reminiscent of the Eagles or Firefall, although it's hard to imagine either of those groups turning in anything with the ethereal beauty of Denny's performance on "White Dress" or "Dawn." Those songs and "Stranger to Himself" could easily have been on one of her solo albums. Others, like Trevor Lucas' "Iron Lion," sound almost like Fairport's version of the Rolling Stones' "Dead Flowers." Only the Swarbrick/Pegg "Night-Time Girl" resembles Fairport's established work from their earlier history. This was the last album and the last incarnation of Fairport Convention to present itself to the public as a contemporary rock group. Beyond this point, they became part of the folk revival circuit, albeit with a huge audience.

Biography

Formed: 1967 in London, England

Genre: Singer/Songwriter

Years Active: '60s, '70s, '80s, '90s, '00s, '10s

The best British folk-rock band of the late '60s, Fairport Convention did more than any other act to develop a truly British variation on the folk-rock prototype by drawing upon traditional material and styles indigenous to the British Isles. While the revved-up renditions of traditional British folk tunes drew the most critical attention, the group members were also (at least at the outset) talented songwriters as well as interpreters. They were comfortable with conventional harmony-based folk-rock...
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