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Royal Proclamation of 1763
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"Indian Magna Carta" redirects here. This term has also been applied to the United States Indian Reorganization Act.
A portion of eastern North America; the 1763 "proclamation line" is the border between the red and the pink areas.
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The Royal Proclamation of 1763 was issued October 7, 1763, by King George III following Great Britain's acquisition of French territory in North America after the end of the French and Indian War/Seven Years' War, which forbade all settlement west of a line drawn along the Appalachian Mountains.[1] It rendered worthless land grants given by the British government to Americans who fought for the crown against France. The Proclamation angered American colonists, who wanted to continue their westward expansion into new lands for farming and keep local control over their settled area. The Royal Proclamation continues to be of legal importance to First Nations in Canada. The 1763 proclamation line is similar to the Eastern Continental Divide's path running northwards from Georgia to the Pennsylvania–New York border and north-eastwards past the drainage divide on the St. Lawrence Divide from there northwards through New England.
Contents
[hide]
1 Background
2 Provisions
2.1 New colonies
2.2 Native lands
2.2.1 Proclamation line
3 Legacy
3.1 Indigenous People of Treaty Six Territory
3.2 United States
3.3 250th anniversary celebrations
4 See also
5 Footnotes
6 Sources
7 Further reading
7.1 Canada
8 External links
Background[edit]
Main article: Great Britain in the Seven Years War
The Treaty of Paris was the official conclusion of the Seven Years' War, of which the French and Indian War was the North American theater. Under this treaty, France ceded ownership to Britain all of continental North America east of the Mississippi River, including Quebec, and the rest of Canada. Spain received all French territory west of the Mississippi. Both Spain and Britain received some French islands in the Caribbean. France kept a few small islands used by fishermen,[2] modern-day Haiti and the rich sugar island of Guadeloupe.
Provisions[edit]
New colonies[edit]
The Eastern (orange line) in the southern areas, and St. Lawrence (magenta line) watershed boundaries in the northern areas of this map more-or-less defined almost all of the Royal Proclamation's western boundaries
Besides regulating colonial expansion, the Proclamation of 1763 dealt with the management of inherited French colonies from the French and Indian War. It established government for four areas: Quebec, West Florida, East Florida, and Grenada.
Native lands[edit]
Some Native American peoples—primarily in the Great Lakes region—had a long and close relationship with France, and were dismayed to find that they were now under British sovereignty. They missed the amicable relationship with the French, along with the gifts they bestowed upon them, neither of which they had with the British. Pontiac's Rebellion (1763–66), a war launched by a group of natives around the Great Lakes and Ohio Valley, was an unsuccessful effort by the western tribes to push the British back. However tribes were able to take over a large number of the forts which commanded the waterways involved in trade within the region and export to Great Britain. The Proclamation of 1763 had been in the works before Pontiac's Rebellion, but the outbreak of the conflict hastened the process.[3] British officials hoped the proclamation would reconcile American Indians to British rule and help to prevent future hostilities.
Proclamation line[edit]
New borders drawn by the Royal Proclamation of 1763.
At the outset, the Royal Proclamation of 1763 defined the jurisdictional limits of the occupied territories of North America. Explaining parts of the Frontier expansion in North America, in Colonial America and especially Canada colony of New France, a diminutive new colony, the Province of Quebec was carved. The territory northeast of the St. John River on the Labrador coast was placed under the Newfoundland Colony.[4] The lands west of Quebec and west of a line running along the crest of the Allegheny mountains became Indian territory, temporarily barred to settlement, to the great disappointment of the land speculators of Virginia and Pennsylvania, who had started the Seven Years' War to gain these territories.[5] The proclamation created a boundary line (often called the proclamation line) between the British colonies on the Atlantic coast and American Indian lands (called the Indian Reserve) west of the Appalachian Mountains. The proclamation line was not intended to be a permanent boundary between the colonists and Aboriginal lands, but rather a temporary boundary which could be extended further west in an orderly, lawful manner.[6][7] It was also not designed as an uncrossable boundary; people could cross the line, just not settle past it. Its contour was defined by the headwaters that formed the watershed along the Appalachians. All land with rivers that flowed into the Atlantic was designated for the colonial entities, while all the land with rivers that flowed into the Mississippi was reserved for the native Indian population. The proclamation outlawed the private purchase of Native American land, which had often created problems in the past. Instead, all future land purchases were to be made by Crown officials "at some public Meeting or Assembly of the said Indians". Furthermore, British colonials were forbidden to settle on native lands, and colonial officials were forbidden to grant ground or lands without royal approval. The proclamation gave the Crown a monopoly on all future land purchases from American Indians.
British colonists and land speculators objected to the proclamation boundary since the British government had already assigned land grants to them. Many settlements already existed beyond the proclamation line,[3] some of which had been temporarily evacuated during Pontiac's War, and there were many already granted land claims yet to be settled. For example, George Washington and his Virginia soldiers had been granted lands past the boundary. Prominent American colonials joined with the land speculators in Britain to lobby the government to move the line further west. Their efforts were successful, and the boundary line was adjusted in a series of treaties with the Native Americans. In 1768 the Treaty of Fort Stanwix and the Treaty of Hard Labour, followed in 1770 by the Treaty of Lochaber, opened much of what is now Kentucky and West Virginia to British settlement.
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Indigenous People of Treaty Six Territory[edit]
For more details on Canadian Aboriginal legacy, see The Canadian Crown and Indigenous peoples.
The Royal Proclamation continued to govern the cession of Indigenous land in British North America, especially Upper Canada and Rupert's Land. The proclamation forms the basis of land claims of Indigenous peloples in Canada – First Nations, Inuit, and Métis. The Royal Proclamation of 1763 is thus mentioned in Section 25 of the Canadian Charter of Rights and Freedoms.
According to historian Colin Calloway, "[settler] scholars disagree on whether the proclamation recognized or undermined tribal sovereignty".[8] The proclamation established the important precedent that the indigenous population had certain rights to the lands they occupied.
Some see the Royal Proclamation of 1763 as a "fundamental document" for First Nations land claims and self-government.[9] It is “the first legal recognition by the British Crown of Aboriginal rights"[10] and imposes a fiduciary duty of care on the Crown. The intent and promises made to the native in the Proclamation have been argued to be of a temporary nature, only meant to appease the Native peoples who were becoming increasingly resentful of “settler encroachments on their lands”[11] and were capable of becoming a serious threat to British colonial settlement.[12][13] Advice given by a merchant to the Board of Trade on August 30, 1764, expressed that
The Indians all know we cannot be a Match for them in the midst of an extensive woody Country...from whence I infer that if we are determined to possess Our Posts, Trade & ca securely, it cannot be done for a Century by any other means than that of purchasing the favour of the numerous Indian inhabitants.[14]
Some historians believe that “the British were trying to convince Native people that there was nothing to fear from the colonists, while at the same time trying to increase political and economic power relative to First Nations and other European powers.”[15] Others argue that the Royal Proclamation along with the subsequent Treaty of Niagara, provide for an argument that “discredits the claims of the Crown to exercise sovereignty over First Nations”[16] and affirms Aboriginal “powers of self-determination in, among other things, allocating lands.”[17]
United States[edit]
USA Proclamation of 1763 Silver Medal. Franklin Mint Issue 1970.
The influence of the Royal Proclamation of 1763 on the coming of the American Revolution has been variously interpreted. Many historians argue that the proclamation ceased to be a major source of tension after 1768, since the aforementioned treaties opened up extensive lands for settlement. Others have argued that colonial resentment of the proclamation contributed to the growing divide between the colonies and the mother country. Some historians argue that even though the boundary was pushed west in subsequent treaties, the British government refused to permit new colonial settlements for fear of instigating a war with Native Americans, which angered colonial land speculators.[18] Others argue that the Royal Proclamation imposed a fiduciary duty of care on the Crown.[citation needed]
George Washington was given 20,000 acres (81 km2) of wild land in the Ohio region for his services in the French and Indian War. In 1770, Washington took the lead in securing the rights of him and his old soldiers in the French War, advancing money to pay expenses in behalf of the common cause and using his influence in the proper quarters. In August 1770, it was decided that Washington should personally make a trip to the western region, where he located tracts for himself and military comrades and eventually was granted letters patent for tracts of land there. The lands involved were open to Virginians under terms of the Treaty of Lochaber of 1770, except for the lands located 2 miles south of Fort Pitt, now known as Pittsburgh.[19]
In the United States, the Royal Proclamation of 1763 ended with the American Revolutionary War because Great Britain ceded the land in question to the United States in the Treaty of Paris (1783). Afterward, the U.S. government also faced difficulties in preventing frontier violence and eventually adopted policies similar to those of the Royal Proclamation. The first in a series of Indian Intercourse Acts was passed in 1790, prohibiting unregulated trade and travel in Native American lands. In 1823, the U.S. Supreme Court case Johnson v. M'Intosh[20] established that only the U.S. government, and not private individuals, could purchase land from Native Americans.
250th anniversary celebrations[edit]
In October 2013 the 250th anniversary of the Royal Proclamation was celebrated in Ottawa with a meeting of Indian leaders and Governor-General David Johnston.[21] The Aboriginal movement Idle No More held birthday parties for this monumental document at various locations across Canada.[22]
See also[edit]
Indian removal
Indian barrier state
Section 25 of the Canadian Charter of Rights and Freedoms, which mentions the 1763 Royal Proclamation
Old Northwest
Northwest Territory
Old Southwest
Southwest Territory
Indian Reserve (1763)
Halifax Treaties
Footnotes[edit]
Jump up ^ Royal Proclamation I
Jump up ^ Fred Anderson, Crucible of War: The Seven Years' War and the Fate of Empire in British North America, 1754-1766 (2007)
^ Jump up to: a b Gordon S. Wood, The American Revolution, A History. New York, Modern Library, 2002 ISBN 0-8129-7041-1, p.22
Jump up ^ W. J. Eccles, France in America, Fitzhrenry & Whiteside Limited 1972, p220
Jump up ^ Jack M. Sosin, Whitehall and the Wilderness (University of Nebraska Pres. 1961 p. 146
Jump up ^ Harvey Markowitz, American Indians (1995) p. 633
Jump up ^ Louis De Vorsey, The Indian boundary in the southern colonies, 1763–1775 (1966) p. 39.
Jump up ^ Calloway, Scratch of a Pen, 93.
Jump up ^ Borrows, Wampum, 155.
Jump up ^ Douglas R. Francis, Richard Jones and Donald B. Smith, Origins: Canadian History to Confederation 6th ed. (Toronto: Nelson Education Ltd., 2009), 157.
Jump up ^ Francis et al., Origins, 156.
Jump up ^ Jack Stagg, Anglo-Indian Relations In North America to 1763 and An Analysis of the Royal Proclamation of 7 October 1763, Indian and Northern Affairs Canada, Research Branch, 1981, 356.
Jump up ^ Borrows, Wampum, 158–159.
Jump up ^ Quoted in Native Liberty, Crown Sovereignty: The Existing Aboriginal Right of Self-Government in Canada, Bruce Clark. (Montreal: McGill-Queen’s University Press, 1990), 81.
Jump up ^ Borrows, "Wampum," 160.
Jump up ^ Borrows, Wampum, 164.
Jump up ^ Borrows, Wampum, 165.
Jump up ^ Woody Holton (August 1994). "The Ohio Indians and the Coming of the American Revolution in Virginia". The Journal of Southern History. 60 (3): 453–78. doi:10.2307/2210989.
Jump up ^ "Letter from George Washington to George Mercer dated November 7, 1771, at Williamsburg". The writings of George Washington from the original manuscript sources. p. 68. Archived from the original on October 4, 2013.
Jump up ^ 21 U.S. (8 Wheat.) 543 (1823)
Jump up ^ CBC.ca: "Royal Proclamation of 1763, Canada's 'Indian Magna Carta,' turns 250" 6 Oct 2013
Jump up ^ G+M "Royal Proclamation’s 250th anniversary has First Nations reflecting on their rights" 7 October 2013
Sources[edit]
Abernethy, Thomas Perkins (1959) [1937]. Western Lands and the American Revolution. New York: Russell & Russell.
Borrows, John (1997). "Wampum at Niagara: The Royal Proclamation, Canadian Legal History, and Self-Government". In Asch, Michael. Aboriginal and Treaty Rights in Canada. Vancouver: UBC Press. ISBN 0-7748-0580-3.
Calloway, Colin (2006). The Scratch of a Pen: 1763 and the Transformation of North America. Oxford University Press. ISBN 0-19-530071-8.
Further reading[edit]
Marshall, Peter. "Sir William Johnson and the Treaty of Fort Stanwix, 1768." Journal of American Studies (1967) 1#2 pp 149–179. doi:10.1017/S0021875800007830
Sosin, Jack. Whitehall and the wilderness: The Middle West in British colonial policy, 1760-1775 (1961), the standard scholarly history of the proclamation and its effects.
Stuart, Paul. The Indian Office: Growth and Development of an American Institution, 1865-1900 (UMI Research Press, 1979)
Canada[edit]
Cashin, Edward J. "Governor Henry Ellis and the Transformation of British North America." Athens: University of Georgia Press, 1994.
Fenge, Terry and Jim Aldridge (eds.), Keeping Promises: The Royal Proclamation of 1763, Aboriginal Rights, and Treaties in Canada, 2015, McGill-Queen's University Press
Lawson, Philip. The Imperial Challenge: Quebec and Britain in the Age of the American Revolution. Montreal/Kingston: McGill-Queen’s University Press, 1989.
Roth, Christopher F. (2002) "Without Treaty, without Conquest: Indigenous Sovereignty in Post-Delgamuukw British Columbia." Wicazo Sa Review, vol. 17, no. 2, pp. 143–165.
Stonechild, Blair A. "Indian-White Relations in Canada, 1763 to the Present." In Encyclopedia of North American Indians, ed. Frederick E. Hoxie, 277–81. Boston: Houghton Mifflin Company, 1996.
Tousignant, Pierre. "The Integration of the Province of Quebec into the British Empire, 1763–91. Part 1: From the Royal Proclamation to the Quebec Act." In Dictionary of Canadian Biography, vol. 4. Toronto: University of Toronto Press, 1980.
External links[edit]
Wikisource has original text related to this article:
Royal Proclamation of 1763
The London Gazette of October 4, 1763 Issue:10354 p.1 Complete text as published in The London Gazette
Complete text of the Royal Proclamation, 1763
Royal Proclamation of 1763 - Chickasaw.TV
Complete text of the Royal Proclamation, 1763
UShistory.org: Article about the proclamation
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Fairport Convention
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This article's lead section does not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. Please discuss this issue on the article's talk page. (September 2017)
Fairport Convention
The band celebrating their 40th anniversary in 2007
Background information
Also known as
Fairport (1976)
Fairport Featuring Dave Swarbrick (1976) (US)
Origin
London, England
Genres
Folk, British folk rock, folk rock
Years active
1967–79, 1985–present
Labels
Polydor
Island
A&M
Vertigo
Rough Trade
Transatlantic
Woodworm
Matty Grooves
Associated acts
Fotheringay
Trader Horne
Steeleye Span
Giles, Giles and Fripp
The Albion Band
Jethro Tull
Website
fairportconvention.com
Members
Simon Nicol
Dave Pegg
Ric Sanders
Chris Leslie
Gerry Conway
Past members
See: Members section
Fairport Convention are a British folk rock band. Formed in 1967, they are widely regarded as a key group in the English folk rock movement.[1] Their seminal album Liege & Lief is considered to have launched the British folk rock movement, which provided a distinctively English identity to rock music and helped awaken much wider interest in traditional music in general. The band have drawn heavily on the Child Ballads, songs of the British Isles from the later medieval period until the 19th century.
The large number of personnel who have been part of the band are among the most highly regarded and influential musicians of their era and have gone on to participate in a large number of significant bands, or enjoyed important solo careers. Since 1979, they have hosted the Cropredy Festival in the village of Cropredy in Oxfordshire, England. Individually and collectively the members of Fairport Convention have received numerous awards recognising their contribution to music and culture. As of 2017[update], they continue to record and tour.
Contents
[hide]
1 History
1.1 Origins
1.2 1967–69: The first three albums
1.2.1 Developing British folk rock
1.3 1970s: A time of change
1.4 1979–85: The Cropredy era
1.5 1986–97: Stability
1.6 1998—present
2 Public recognition
3 Personnel
3.1 Members
3.2 Lineups
3.3 Timeline
4 Discography
5 References
6 Further reading
7 External links
History[edit]
Origins[edit]
Bassist Ashley Hutchings met guitarist Simon Nicol in North London in 1966 when they both played in the Ethnic Shuffle Orchestra. They rehearsed on the floor above Nicol's father's medical practice in a house called "Fairport" on Fortis Green in Muswell Hill – the same street on which Ray and Dave Davies of the Kinks grew up.[2] The house name lent its name to the group they formed together as Fairport Convention in 1967 with Richard Thompson on guitar and Shaun Frater on drums.[3] After their initial performance at St Michael's Church Hall in Golders Green on 27 May 1967, they had their first of many line-up changes as one member of the audience, drummer Martin Lamble, convinced the band that he could do a better job than Frater and replaced him.[4] They soon added a female singer, Judy Dyble, which gave them a distinctive sound among the many London bands of the period.[5]
1967–69: The first three albums[edit]
Fairport Convention were soon playing regularly at underground venues such as UFO and The Electric Garden, which later became the Middle Earth club.[6] After only a few months, they caught the attention of manager Joe Boyd who secured them a contract with Polydor Records. Boyd suggested they augment the line-up with another male vocalist. Singer Iain Matthews (then known as Ian MacDonald) joined the band and their first album, Fairport Convention, was recorded in late 1967 and released in June 1968. At this early stage Fairport looked to North American folk and folk rock acts such as Joni Mitchell, Bob Dylan, and The Byrds for material and inspiration. The name "Fairport Convention" and the use of two lead vocalists led many new listeners to believe that they were an American act, earning them the nickname 'the British Jefferson Airplane' during this period.[7] Fairport Convention played alongside Jefferson Airplane at the First Isle of Wight Festival, 1968. [8]
After disappointing album sales they signed a new contract with Island Records. Before their next recording Judy Dyble was replaced by the band with Sandy Denny, a folk singer who had previously recorded as a soloist and with Strawbs. Denny’s distinctive voice, described by Clive James as ‘open space, low-volume, high-intensity’, is one of the characteristics of two albums released in 1969: What We Did on Our Holidays and Unhalfbricking.[9] These recordings marked the growth of much greater musicality and song-writing ability among the band. The first of these featured the Thompson-penned "Meet on the Ledge", which became their second single and eventually the band's unofficial anthem.
During the recording of Unhalfbricking, Matthews left after having sung on only one song, eventually to form Matthews Southern Comfort.[10] He was not replaced; the other male members covered his vocal parts. The album featured a guest appearance by Birmingham folk fiddler Dave Swarbrick on a recording of "A Sailor's Life", a traditional song brought to the band by Denny from her folk club days. The recording of this track marked an important turning point for the band, sparking an interest in traditional music in Ashley Hutchings that led him to detailed research in the English Folk Dance and Song Society Library at Cecil Sharp House; this theme would become the basis for their next, much more ambitious, recording project.[11]
These two albums began to gain the band wider recognition. Radio DJ John Peel championed their music, playing their albums on his influential BBC shows. Peel also recorded a number of sessions which were later released as the album Heyday (1987). They enjoyed some mainstream success when they entered the singles charts with "Si Tu Dois Partir", a French-language version of Bob Dylan's "If You Gotta Go, Go Now". The record just missed the top twenty, but secured the band a slot on Top of the Pops, Britain's most popular television pop music programme at the time.[12] In 1969 four members of the band, one uncredited and three with pseudonyms, featured as backing musicians on the album Love Chronicles by Scottish folk artist Al Stewart.
Developing British folk rock[edit]
On 12 May 1969, on the way home from a gig at Mothers,[13] a club in Birmingham, Fairport's van crashed on the M1 motorway. Martin Lamble, aged only nineteen, and Jeannie Franklyn, Richard Thompson's girlfriend, were killed. The rest of the band suffered injuries of varying severity.[14] They nearly decided to disband. However, they reconvened with Dave Mattacks taking over drumming duties and Dave Swarbrick, having made contribution to Unhalfbricking, now joined as a full member. Boyd set the band up in a rented house in Farley Chamberlayne near Winchester in Hampshire, where they recuperated and worked on the integration of British folk music into rock and roll that would result in the fourth album Liege & Lief.[15]
Usually considered the highpoint of the band’s long career, Liege & Lief was a huge leap forward in concept and musicality. The album consisted of six traditional tracks and three original compositions in a similar style. The traditional tracks included two sustained epics: "Tam Lin", which was over seven minutes in length, and "Matty Groves", at over eight. There was a medley of four traditional tunes, arranged, and, like many of the tracks, enlivened, by Swarbrick’s energetic fiddle playing. The first side was bracketed by original compositions "Come all ye" and "Farewell, Farewell", which, in addition to information on the inside of the gatefold cover on Hutchings’ research, explaining English folk traditions, helped give the record the feel of a concept album. "Farewell, Farewell" and the final track "Crazy Man Michael", also saw the full emergence of the distinctive song writing talent of Thompson that was to characterize his contributions to the band and later solo career. The distinctive sound of the album came from the use of electric instruments and Mattacks’ disciplined drumming with Swarbrick’s fiddle accompaniment in a surprising and powerful combination of rock with the traditional. The entire band had reached new levels of musicality, with the fluid guitar playing of Thompson and the ‘ethereal’ vocal of Denny particularly characteristic of the sound of the album. As the reviewer from AllMusic put it, the album was characterized by the ‘fusing [of] time-worn folk with electric instruments while honoring both’.[16]
A few British bands had earlier experimented with playing traditional English songs on electric instruments, (including Strawbs and Pentangle), but Fairport Convention was the first English band to do this in a concerted and focused way.[17] Fairport Convention's achievement was not to invent folk rock, but to create a distinctly English branch of the genre, which would develop alongside, and interact with, American inspired music, but which can also be seen as a distinctively national reaction in opposition to it.[18] Liege & Lief was launched with a sell-out concert in London's Royal Festival Hall late in 1969. It reached number 17 in the UK album chart, where it spent fifteen weeks.[19]
1970s: A time of change[edit]
Fairport Convention in a Dutch television show in 1972
Disagreements arose about the direction of the band in the wake of this success. Ashley Hutchings wanted to explore more traditional material and left to form two groups that would rival Fairport for significance in English folk rock: Steeleye Span and the Albion Band.[20] Sandy Denny also left to found her own group Fotheringay. Dave Pegg took over on bass guitar and has been the group's one constant ever since, in an unbroken membership of over four decades. The band made no serious attempt to replace Denny, and, although she would briefly return, the sound of the band would now be characterized by male vocals.
Despite these changes the band produced another album, Full House (1970), which was remarkably successful as a project. Like its predecessor, it combined traditional songs, including a powerful rendition of "Sir Patrick Spens", with original compositions. The latter benefited from the writing partnership of Thompson and Swarbrick, most obviously on ‘Walk Awhile’ which would become a concert favourite. Despite the loss of Denny the band still possessed four vocalists, including the emerging voices of Nicol and Swarbrick, whose tones would dominate the sound of this period. It was favourably reviewed in Britain and America, drawing comparisons with the Band from Rolling Stone magazine who declared that ‘Fairport Convention is better than ever’.[21] The album reached number 13 in the UK Chart and stayed in the chart for eleven weeks.[19] The same year the band released a single 'Now Be Thankful' and made its American debut, touring with Traffic and Crosby, Stills, Nash & Young.[22]
In the recurring pattern, soon after the album's release Thompson left the band to pursue other projects and eventually his solo career. This left Simon Nicol as the only original member and Dave Swarbrick emerged as the leading force in the band. In 1970 the members and their families had moved into The Angel, a former pub in Hertfordshire and this inspired the next album Angel Delight (1971) the band's first to chart in the US, peaking at number 200 on the Billboard 200 and their only top ten album in the UK.[23] The next project was an ambitious folk-rock opera developed by Swarbrick, based on the life of John 'Babbacombe' Lee, ‘the man they couldn’t hang’ and released with the title Babbacombe Lee (1971). The concept format, originally without clear tracks, excited considerable press interest and it received good air play in the United States where it reached number 195. A version was produced by the BBC for TV in 1975 with narration by Melvyn Bragg.[24] These two albums were also notable as the first time that Fairport had recorded consecutively with the same line-up, but inevitably stability did not last: Simon Nicol left early in late 1971 to join Ashley Hutchings' Albion Band and he was soon followed by Mattacks.[25]
Only Pegg and Swarbrick remained and the following few years have been dubbed 'Fairport confusion' as a bewildering sequence of band members came and went, but by 1973 Mattacks had returned and two former members of Sandy Denny's Fotheringay had joined the band, Denny's Australian husband Trevor Lucas on vocals and guitar and American Jerry Donahue on lead guitar.[26] From these line-ups the band produced two studio albums: Rosie, notable for the Swarbrick penned title track (1973) and Nine (1974), the ninth studio album by the band. The last of these contained writing contributions by Lucas to five of the nine tracks, which together with Donahue's country influences and outstanding guitar pyrotechnics gave the album a very distinctive feel.
Denny rejoined the band in 1974 and there were considerable expectations, both artistic and commercial, placed on this line-up. Denny was featured on the album Rising for the Moon (1975), which became the band's highest US chart album when it reached number 143 on the Billboard 200 and the first album to reach the top one-hundred in the UK since Angel Delight, reaching no 52.[19] During the Rising sessions, Mattacks fell out with producer Glyn Johns and was replaced by former Grease Band drummer Bruce Rowland. Poor UK sales for Rising did not aid morale and, despite the relative success of the line-up, Lucas and Donahue left the band, as did Denny in 1976. She died aged 31, in 1978, of a cerebral haemorrhage after falling down a flight of stairs.[27]
Rowland, Pegg, and Swarbrick fulfilled their remaining contractual obligations to Island Records by turning what had originally been a Swarbrick solo effort into the album Gottle O'Geer (1976) under the name 'Fairport' (as opposed to Fairport Convention) in the UK, and as 'Fairport featuring Dave Swarbrick' in the US, and with various session players and production by Simon Nicol, who subsequently rejoined the band. They then signed with Vertigo, but record sales continued to decline and after producing two of four contracted albums, The Bonny Bunch of Roses (1977) and Tipplers Tales (1978), Vertigo bought them out of their contract. It is claimed by members of the band that this was the only recording money they had seen up to that point.[28]
1979–85: The Cropredy era[edit]
Simon Nicol and Ric Sanders of Fairport Convention on stage at Fairport's Cropredy Convention 2005
By 1979 the mainstream market for folk rock had largely disappeared, the band had no record deal and Dave Swarbrick had been diagnosed with tinnitus which made loud electric gigs increasingly difficult. Fairport decided to disband. They played a farewell tour and a final outdoor concert on 4 August in Cropredy, the Oxfordshire village where Dave and Christine Pegg lived. The finality of this occasion was mitigated by the announcement that the band would meet for a reunion.[29]
No record company wanted to release the live recordings of the tour and concert, so the Peggs founded Woodworm Records, which would be the major outlet for the band in the future. Members continued to take part in occasional gigs, particularly in festivals in continental Europe, and after a year they staged a reunion concert in Cropredy which became the annual Cropredy Festival. Over the next few years, it grew rapidly and emerged as the major mechanism for sustaining the band. In August 1981, the band held their annual reunion concert at Broughton Castle, rather than the usual Cropredy location.[30] The concert was recorded, and released on the 1982 album Moat on the Ledge.
The Peggs continued to record and release the Cropredy concerts as 'official bootlegs'. These were supplemented by New Year's gigs in minor locations including the Half Moon at Putney and the Gloucester Leisure Centre.[31] In 1983 the magazine Fairport Fanatics (later Dirty Linen), was created: a testament to the continued existence of a dedicated fan base.[32]
The remaining members pursued their own lives and careers outside of the band. Nicol, Pegg, and Mattacks had recorded and toured with Richard and Linda Thompson at times in the 1970s, and did so again during this period, culminating in their appearance on the Shoot Out the Lights album and tour in 1982. Bruce Rowlands gave up the music business and moved to Denmark and as a result Dave Mattacks returned as drummer for Fairport’s occasional gigs. Dave Pegg was the first of several Fairporters to join Jethro Tull which gave him well-paying steady employment. Simon Nicol had teamed up with Dave Swarbrick in a highly regarded acoustic duo, but this partnership was made difficult by Swarbrick’s sudden decision to move to Scotland, where, from 1984 he began to focus on his new project Whippersnapper.[31]
In 1985, Pegg, Nicol and Mattacks found that they all had some free time and an available studio belonging to Pegg. They decided that they needed some new material to add to the catalogue that had been suspended in 1978. As Swarbrick was unavailable, the selection of traditional tunes was more difficult than for past albums and there was a need for a replacement fiddle player and some vocals. Pegg and Nicol took over arranging duties on an instrumental medley and the band turned to sometime Albion Band members: jazz and folk violinist Ric Sanders and singer-songwriter Cathy Lesurf. They also had the help of ex-member Richard Thompson. Thompson and Lesurf contributed songs and took part in the recordings. Also important to the album was Ralph McTell who contributed one song and co-wrote one track each with Nicol and Mattacks. The former, ‘The Hiring Fair’, would become a stage fixture of the future Fairport.
The resulting album Gladys' Leap (1985) was generally well received in the music and national press, but caused some tension with Swarbrick who refused to play any of the new material at the 1985 Cropredy Festival. Nevertheless, the decision to reform the band, without Swarbrick, was taken by the other three remaining members. Ric Sanders was invited to join, along with guitarist, composer, arranger and multi-instrumentalist Maartin Allcock. Nicol, with his developing baritone voice, took over the main share of the vocal duties. This line-up was to last eleven years, the longest period of membership stability in the band’s history so far.[33]
1986–97: Stability[edit]
The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on.[34]
In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged ‘their bestselling and undoubtedly finest album in years.’[35]
At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as ‘Fairport Acoustic Convention’ in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing ‘John Gaudie’. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band.[36]
1998—present[edit]
The stage at Fairport's Cropredy Convention in August 2009
Kami Thompson and Fairport Convention, 2012
In 1998, Dave Mattacks moved to the USA and Gerry Conway took over on drums and percussion. Fairport produced two more studio albums for Woodworm Records: The Wood and the Wire (2000) and XXXV (2002). Then for Over the Next Hill (2004) they established a new label: Matty Grooves Records. In this period the band toured extensively in the UK, Europe, Australasia, Europe, the USA and Canada, and staged a major fund raiser for Dave Swarbrick at the Birmingham Symphony Hall. In 1998, members of the band began their association with the Breton musician Alan Simon. Working in collaboration with numerous others, members of Fairport (predominantly Nicol and Leslie) have performed in and participated in the recordings of all Simon's rock operas, including the Excalibur trilogy (1998, 2007, 2010) and Anne de Bretagne (2008).
2007 was their fortieth anniversary year and they celebrated by releasing a new album, Sense of Occasion. They performed the whole of the Liege & Lief album live at Cropredy, since 2004 renamed Fairport's Cropredy Convention, featuring the 1969 line-up of Dave Swarbrick, Ashley Hutchings, Dave Mattacks, Simon Nicol and Richard Thompson, with singer-songwriter Chris While taking the place of Sandy Denny. Footage of the festival, although not the Liege and Lief performance, was released as part of a celebratory DVD.
The band's first official YouTube video appeared in April 2008. Edited from footage shot for the DVD, the nine-minute mini-documentary includes interviews with Lulu, Jools Holland, Seth Lakeman, Mike Harding, Geoff Hughes and Frank Skinner.
In 2011, the band released a new studio album Festival Bell, the first new album in four years. This was followed in 2012 by Babbacombe Lee Live Again recorded live during the 2011 tour revisiting the Babbacombe Lee album first issued in 1971. In 2012, the band also released By Popular Request, a reworking in the studio of a number of the most popular songs in the band's repertoire (as determined by a mysterious consultation and voting process conducted by the band with its fans).
In January 2015, four years after their previous studio album of original material (Festival Bell), Fairport Convention released a new one entitled Myths and Heroes.
Public recognition[edit]
The mainstream media has increasingly recognized Fairport Convention's historical importance. They received a "Lifetime Achievement Award" at the 2002 BBC Radio 2 Folk Awards. In the same year Free Reed Records, an independent label, released Fairport Unconventional, a four-CD boxed set of rare and unreleased recordings from the band's 35-year career. At the 2006 BBC Radio 2 Folk Awards they received an award when their seminal album Liege & Lief was voted 'Most Influential Folk Album of All Time' by Radio 2 listeners.[37] At the 2007 BBC Radio 2 Folk Awards Fairport Convention received an award recognising the late Sandy Denny and the band for ‘Favourite Folk Track Of All Time’ for Who Knows Where the Time Goes?.[38]
Personnel[edit]
Simon Nicol at the BBC Radio 2 Folk Awards in February 2007
Members[edit]
Current members
Simon Nicol – guitar, vocal (1967–1971, 1976–1979, 1985–present)
Dave Pegg – bass guitar, mandolin, backing vocal (1969–1979, 1985–present)
Ric Sanders – fiddles, occasional keyboards (1985–present)
Chris Leslie – fiddle, mandolin, bouzouki, vocal (1996–present)
Gerry Conway – drums, percussion (1998–present)
Former members
Richard Thompson – guitar, vocal (1967–1971)
Ashley Hutchings – bass guitar (1967–1969)
Shaun Frater – drums (1967)
Martin Lamble – drums (1967–1969; died 1969)
Judy Dyble – vocal, autoharp, piano, recorder (1967–1968)
Iain Matthews – vocal (1967–1969)
Sandy Denny – vocal, guitar, piano (1968–1969, 1974–1975; died 1978)
Dave Swarbrick – fiddle, mandolin, vocal (1969–1979; died 2016)
Dave Mattacks – drums, keyboards, bass guitar (1969–1972, 1973–1975, 1985–1997)
Roger Hill – guitar, vocal (1971–1972; died 2011)
Tom Farnell – drums (1972)
David Rea – guitar (1972; died 2011)
Trevor Lucas – guitar, vocal (1972–1975; died 1989)
Jerry Donahue – guitar (1972–1975)
Paul Warren – drums (1975)
Bruce Rowland – drums (1975–1979; died 2015)
Dan Ar Braz – guitar (1976)
Bob Brady – piano (1976)
Roger Burridge – mandolin, fiddle (1976)
Maartin Allcock – guitar, mandolin, keyboard, vocal (1985–1996)
Lineups[edit]
1967
1967
1967
1967–1968
Shaun Frater – drums
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Martin Lamble – drums
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Martin Lamble – drums
Judy Dyble – vocal, autoharp, piano, recorder
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Martin Lamble – drums
Judy Dyble – vocal, autoharp, piano, recorder
Iain Matthews – vocal
1968–1969
1969
1969
1969–1971
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Martin Lamble – drums
Iain Matthews – vocal
Sandy Denny – vocal, piano
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Martin Lamble – drums
Sandy Denny – vocal, piano
Ashley Hutchings – bass guitar
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Sandy Denny – vocal, piano
Dave Mattacks – drums, keyboards, bass guitar
Dave Swarbrick – fiddle, mandolin, vocal
Simon Nicol – guitar, vocal
Richard Thompson – guitar, vocal
Dave Mattacks – drums, keyboards, bass guitar
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
1971
1971–1972
1972
1972
Simon Nicol – guitar, vocal
Dave Mattacks – drums, keyboards, bass guitar
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Dave Mattacks – drums, keyboards, bass guitar
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Roger Hill – guitar, vocal
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Roger Hill – guitar, vocal
Tom Farnell – drums
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Tom Farnell – drums
David Rea – guitar
1972–1974
1974–1975
1975
1975
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Jerry Donahue – guitar
Trevor Lucas – guitar, vocal
Dave Mattacks – drums, keyboards, bass guitar
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Jerry Donahue – guitar
Trevor Lucas – guitar, vocal
Dave Mattacks – drums, keyboards, bass guitar
Sandy Denny – vocal, piano
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Jerry Donahue – guitar
Trevor Lucas – guitar, vocal
Sandy Denny – vocal, piano
Paul Warren – drums
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Jerry Donahue – guitar
Trevor Lucas – guitar, vocal
Sandy Denny – vocal, piano
Bruce Rowland – drums
1975–1976
1976
1976
1976–1979
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Sandy Denny – vocal, piano
Bruce Rowland – drums
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Bruce Rowland – drums
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Bruce Rowland – drums
Bob Brady – piano
Dan Ar Braz – guitar
Roger Burridge – mandolin, fiddle
Dave Swarbrick – fiddle, mandolin, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Bruce Rowland – drums
Simon Nicol – guitar, vocal
1979–1985
1985
1985–1996
1996–1998
Disbanded
Dave Mattacks – drums, keyboards, bass guitar
Simon Nicol – guitar, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Dave Mattacks – drums, keyboards, bass guitar
Simon Nicol – guitar, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Maartin Allcock – guitar, mandolin, keyboards, vocal
Ric Sanders – fiddles, keyboards
Dave Mattacks – drums, keyboards, bass guitar
Simon Nicol – guitar, vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Ric Sanders – fiddles, keyboards
Chris Leslie – fiddle, mandolin, bouzouki, vocal
1998–present
Simon Nicol – guitar, lead vocal
Dave Pegg – bass guitar, mandolin, backing vocal
Ric Sanders – fiddles, keyboards
Chris Leslie – fiddle, mandolin, bouzouki, vocal
Gerry Conway – drums, percussion
Timeline[edit]
Discography[edit]
Main article: Fairport Convention discography
Fairport Convention (1968)
What We Did on Our Holidays (1969)
Unhalfbricking (1969)
Liege & Lief (1969)
Full House (1970)
Angel Delight (1971)
Babbacombe Lee (1971)
Rosie (1973)
Nine (1973)
Rising for the Moon (1975)
Gottle O'Geer (1976)
The Bonny Bunch of Roses (1977)
Tipplers Tales (1978)
Gladys' Leap (1985)
Expletive Delighted! (1986)
Red & Gold (1989)
The Five Seasons (1990)
Jewel in the Crown (1995)
Old New Borrowed Blue (1996)
Who Knows Where the Time Goes? (1997)
The Wood and the Wire (1999)
XXXV (2002)
Over the Next Hill (2004)
Sense of Occasion (2007)
Festival Bell (2011)
By Popular Request (2012)
Myths and Heroes (2015)
50:50@50 (2017)
References[edit]
Jump up ^ Sweers 2005, p. 86.
Jump up ^ Thompson, Dave (December 1983). "Fairport Convention". Record Collector (52): 28–32.
Jump up ^ B. Hinton, and G. Wall, Ashley Hutchings: The Guv'nor & the Rise of Folk Rock, (London: Helter Skelter, 2002)[page needed]
Jump up ^ Humphries 1997, pp. 6–7.
Jump up ^ Humphries, pp. 7–9.
Jump up ^ Simon Nicol, Fairport Convention Official Website Archived 11 February 2009 at the Wayback Machine. retrieved 14 January 2009
Jump up ^ Observer Music Monthly retrieved on 14 January 2009.
Jump up ^ Ray Foulk, 2015, Stealing Dylan from Woodstock, Medina Publishing, Surbition.
Jump up ^ C. James, ‘In a lonely moment’ retrieved on 14 January 2009.
Jump up ^ Humphries, p. 27.
Jump up ^ Hinton and Wall[page needed]
Jump up ^ Humphries, p. 37.
Jump up ^ "Richard Thompson: Solitary Life". BBC Four. BBC. Retrieved 2012-09-14.
Jump up ^ Sweers 2005, p. 89.
Jump up ^ Hutchings, Ashley. Liege and Lief. 2002, Island Records reissue, IMCD 291 / 596 929-2, liner notes.
Jump up ^ Allmusic retrieved on 14 January 2009.
Jump up ^ R. Unterberger, Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock (Backbeat Books, San Francisco, 2003), p. 157.
Jump up ^ Sweers 2005, p. 4.
^ Jump up to: a b c UK Chart Stats
Jump up ^ Humphries, p. 52.
Jump up ^ Rolling Stone Reviews retrieved on 14 January 2009.
Jump up ^ Richard Thompson Official Website retrieved on 14 January 2009 Archived 18 February 2008 at the Wayback Machine..
Jump up ^ The Official Charts website retrieved 18 June 2014.
Jump up ^ (Mostly) English Folk Music retrieved 13 January 2009.
Jump up ^ Humphries, pp. 95–7.
Jump up ^ Frame, Pete (1983). The Rock Family Trees, the Development and History of Rock Performers. Omnibus Press. ISBN 978-0-711-90465-1.
Jump up ^ "'You had to hold on to the furniture when Sandy sang': Live fast, die young ... John Harris pays tribute to the one-woman maelstrom that was Sandy Denny". The Guardian. 5 May 2005. Retrieved 17 January 2013.
Jump up ^ Redwood & Woodward 1995, p. 14.
Jump up ^ Redwood & Woodward 1995, pp. 15–16.
Jump up ^ Humphries 1982, p. 103.
^ Jump up to: a b Redwood & Woodward 1995, p. 18.
Jump up ^ R. Weissman, Which Side are You On?: An Inside History of the Folk Music Revival in America (Continuum International, 2005), p. 241.
Jump up ^ Redwood & Woodward 1995, p. 19.
Jump up ^ Redwood & Woodward 1995, pp. 34–35.
Jump up ^ NME online retrieved on 13 January 2009.
Jump up ^ As commemorated in The Cropredy Box triple-CD set (1998).
Jump up ^ BBC 2 Folk Awards 2006 retrieved on 13 January 2009.
Jump up ^ BBC 2 Folk Awards 2007 retrieved on 13 January 2009.
Sources:
Humphries, Patrick (1982). Meet on the Ledge: A History of Fairport Convention. London: Eel Pie Publishing Ltd. ISBN 0-906008-46-8.
Humphries, Patrick (1997). Meet on the Ledge: Fairport Convention – The Classic Years. London: Virgin Publishing Ltd. ISBN 978-0-753-50153-5.
Redwood, Fred; Woodward, Martin (1995). The Woodworm Era, the Story of Today's Fairport Convention. Thatcham: Jeneva. ISBN 978-0-952-58600-5.
Sweers, Britta (2005). Electric Folk: The Changing Face of English Traditional Music. Oxford University Press. ISBN 978-0195174786.
Further reading[edit]
Mand, Andreas. "Fairport Convention". Rock Stories: Fifty short stories about music and their significance. Langen – Mueller Verlag. ISBN 978-3-7844-3195-6.
External links[edit]
Wikimedia Commons has media related to Fairport Convention.
Fairport Convention's website
[show]
v
t
e
Fairport Convention
Simon Nicol
Dave Pegg
Ric Sanders
Chris Leslie
Gerry Conway
Richard Thompson
Ashley Hutchings
Shaun Frater
Martin Lamble
Judy Dyble
Iain Matthews
Sandy Denny
Dave Swarbrick
Dave Mattacks
Roger Hill
Tom Farnall
David Rea
Trevor Lucas
Jerry Donahue
Paul Warren
Bruce Rowland
Dan Ar Braz
Bob Brady
Roger Burridge
Maartin Allcock
Discography
Studio albums
Fairport Convention (1968)
What We Did on Our Holidays (1969)
Unhalfbricking (1969)
Liege & Lief (1969)
Full House (1970)
Angel Delight (1971)
"Babbacombe" Lee (1971)
Rosie (1973)
Nine (1973)
Rising for the Moon (1975)
Gottle O'Geer (1976)
The Bonny Bunch of Roses (1977)
Tipplers Tales (1978)
Gladys' Leap (1985)
Expletive Delighted! (1986)
In Real Time: Live '87 (1987)
Red & Gold (1988)
The Five Seasons (1990)
Jewel in the Crown (1995)
Old New Borrowed Blue (1996)
Who Knows Where the Time Goes? (1997)
The Wood and the Wire (2000)
XXXV (2001)
Over the Next Hill (2004)
Sense of Occasion (2007)
Festival Bell (2011)
By Popular Request (2012)
Myths and Heroes (2015)
50:50@50 (2017)
Singles
"If I Had a Ribbon Bow" (1968)
"Meet on the Ledge" (1968)
"I'll Keep It with Mine" (1969)
"Si Tu Dois Partir" (1969)
"If (Stomp)" (1970)
"Now Be Thankful" (1970)
Live albums
Fairport Live Convention (1974)
Live at the L.A. Troubadour (1977)
Farewell Farewell (1979)
Moat on the Ledge - Live at Broughton Castle (1982)
House Full (1986)
Heyday (1987)
25th Anniversary Concert (1992)
Cropredy 98 (1999)
The Quiet Joys of Brotherhood (2004)
Journeyman's Grace (2005)
Live at the BBC (2007)
Off the Desk (2008)
Live at Cropredy 08 (2009)
Babbacombe Lee - Live Again (2012)
Compilations
History of Fairport Convention (1972)
Tour Sampler (1975)
Fairport Chronicles (1976)
The Woodworm Years (1991)
A Chronicle of Sorts 1967 - 1969
Meet On the Ledge: The Classic Years 1967-1975
Some of Our Yesterdays
Fairport Convention (2002 compilation)
Then & Now 1982 - 1996: The Best of Fairport Convention
Rhythm of the Times (2003)
Across the Decades (2003)
Box sets
The Cropredy Box (1998)
Related articles
Fairport's Cropredy Convention (Cropredy Festival)
Fairport's Cropredy Convention Line-ups (Cropredy Festival)
British folk rock
Jethro Tull
[show]
v
t
e
Sandy Denny
Solo albums
The North Star Grassman and the Ravens
Sandy
Like an Old Fashioned Waltz
Rendezvous
Gold Dust
Live albums
Gold Dust
19 Rupert St
Compilations
It's Sandy Denny
Who Knows Where the Time Goes?
The Best of Sandy Denny
The Attic Tracks 1972–1984
The BBC Sessions 1971–1973
Listen Listen - An Introduction to Sandy Denny
No More Sad Refrains: The Anthology
The Best of Sandy Denny (20th Century Masters: The Millennium Collection)
The Collection
A Boxful of Treasures
Where The Time Goes - Sandy '67
Live at the BBC
The Best of the BBC Recordings
The Music Weaver: Sandy Denny Remembered
Sandy Denny
The Notes and the Word: A Collection of Demos and Rarities
Albums with the Strawbs
All Our Own Work
Sandy Denny and the Strawbs
All Our Own Work: The Complete Sessions Remastered
Albums with
Fairport Convention
What We Did on Our Holidays
Unhalfbricking
Liege & Lief
Fairport Live Convention
Rising for the Moon
Heyday: the BBC Radio Sessions 1968–69
Albums with Fotheringay
Fotheringay
Fotheringay 2
Albums with The Bunch
Rock On
Collaborations
Alex Campbell and His Friends
Sandy and Johnny (split album with Johnny Silvo)
Don't Stop Singing (Thea Gilmore)
Guest appearances
Led Zeppelin: "The Battle of Evermore"
The Who: Tommy
The Young Tradition: Galleries
Stefan Grossman: Ragtime Cowboy Jew
Authority control
WorldCat Identities
GND: 5523166-4
ISNI: 0000 0001 2315 2507
MusicBrainz: cc60d937-e80b-4c66-8aa2-e89cb57c8b08
VIAF: 140851900
Retrieved from "https://en.wikipedia.org/w/index.php?title=Fairport_Convention&oldid=835530652"
Categories:
English folk musical groups
English folk rock groups
Ashley Hutchings
Musical groups established in 1967
Polydor Records artists
Island Records artists
A&M Records artists
Vertigo Records artists
Rough Trade Records artists
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1967 establishments in England
Hidden categories:
Wikipedia articles needing page number citations from January 2013
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