TalkAwhile - The Folk Corporation Forum

CD arrived today.Currently placing in tray...

Snap!

Broken it already? Is it that bad?

Ha!  First thing to say - the picture of the Bell works much better when you actuallys ee the CD than I thought it would.

Does anyone know who the author of 'Mercy Bay' is?

Some geezer called Les Chrislie

Chris, according the the CD booklet.

Ah! So he's responsible! Oh that Man!

Cheers!

Right having listened to it all the way through straight, my first thoughts are:

Danny Jack's Chase, Wouldn't Say No, Darkside Wood, Mercy Bay and Rising for the Moon are excellent tracks.  
Festival Bell is suitably jolly, as expected.  
Wouldn't Say No is probably the rockiest track on the CD.

Ukulele Central is pitched too high even for Chris.
Peggy shouldn't take lead vocals.
There's something really irritating about London Apprentice, but I can't quite work out what it is.

Is it as irritating as the track Neil Gow's Apprentice was on XXXV ? Intend to get my copy when I see the guys on Feb 8th, so will mostly be in suspense 'til then.

Just listening to the first track. Will record thoughts later. But, Mercy Bay is a promising start.

I think its because it doesn't suit the Fairport style, whereas Wild Cape Horn is very Fairport.

Strangely enough, it's quite similar in style to Neil Gowr, yet I like Neil Gow.

Is it the proximity to the Lost Gardens of Helligan?  ???

Mercy Bay - an instant Fairport classic!!!
A vocal tour de force for Simon. His voice is brilliant on this - so powerful
Chris Leslie's best ever.

Well that's the first listen completed (Brum v West Ham got in the way) and I'm impressed. Definitely the best album recently. The only track I'd dump would be Ukulele Central, which is pretty dire.

Mercy Bay probably my fav after one listen. See what I think after a few more listens.

But, basically, well down lads, a good album and looking forward to hearing many of the tracks live on the Wintour.

So "The Festival Bell" has crossed the North Sea and is being played atm.
Looking back on the the thread while listening I seem to agree with both Andy and H, but I have to admit that         "Wouldnt Say No" left me totally cold. Hopefully a few tracks will grow, my direct favourites are "Mercy Bay", "Danny Jackś Chase", "Rising" and the title track.
As someone - GubGub? -pointed out there is not much rock left in the folkrock and the electric guitar is mostly absent, but on record I don't mind. At Croppers it's  a different kettle of fish...  :D
But I will cherish the album to help me get through the freezing cold, ice and snow months since that, in spite of the opening track, Fairport's music to me stands for summer warmth and sunny summer things like Cropredy!  ;D

Celtic Moon - I like the occasional song sung by Peggy.
Think it gives the CD a bit of variety.

I haven't had a chance to compare yet, but I'm sure when they've played that live it's somehow hd more 'bite' to it.  Slightly faster and 'rockier', perhaps.

I agree. On most group musical efforts -  like a new Fairport CD - I almost always find that if there is a possibility of a variety of voices doing the lead vocals, that strengthens the album. Simon and Chris are both great singers but a third- like Peggy here - or even a fourth lead vocal effort makes an album more exciting to listen to.

Wouldn't Say No - wouldn't say yes!  I find I cannot warm to the protagonist so don't really care what happens to him.  "... sweating in his driving seat" - not a pleasant image - you just know he is a man who wears polyester and smells of B.O.

I'm on my third listen.  Mercy Bay, Reunion Hill and Rui's Guitar are immediate favourites.  Actually, that's not strictly true - I was already enjoying Rui's Guitar in the Youtube clips.  I'm not sure why I like it though.  I had to look up Fado and realise that the lyrics are cleverer(?!) than I first thought although some of the images are a bit mixed between the road and the sea.

So far so good ... :)  

Well it hasn't been mentioned yet, but ... Danny Jack's Reward. Wow! I'm completely blown away by it, especially the wonderful bassy bit in the middle. The whole thing sounds positively experimental.

As for the rest of the album, I (on the whole) love it. The best in years, I think.

On first listen bit disappointed.  It all seems a bit too ...polite.  No sign of the "wild electric sound" for example Hawkwood's Army on the last album.

On second listen the next morning, much better.  Some strong songs, mainly those mentioned and especially Mercy Bay. Simon's vocals are some of the best for years.  It won't be the first one I grab to save if there's a fire, but it will get played quite often. Still think the ukulele thing should have been strangled at birth though. Novelty songs get tiresome very quickly.

One point struck me listening to the title track. I have always enjoyed this live as it has a great sense of fun.  That doesn't come across as strongly. Perhaps the RT ploy of recording new albums live rathe rthan in the studio would be more liberating for groups who thrive on stage and that could be an option for FC.

(Pedants corner:  the notes to Round Cape Horn refer to the Peking being based in Connecticut.  There is a 1911 barque called Peking at the South St Seaport in Mahattan and I think this might be the same one. Very fine boat/ship. Would attach photo if I wasn't technically challenged!)

First listen and I'm happy so far. Not reached track 8 yet though! ;D

Reunion Hill - Another splendid vocal by Simon
love the keyboards and whistles in the background!!

(Pedants corner:  the notes to Round Cape Horn refer to the Peking being based in Connecticut.  There is a 1911 barque called Peking at the South St Seaport in Mahattan and I think this might be the same one. Very fine boat/ship. Would attach photo if I wasn't technically challenged!)


Indeed, this must be the Peking at the South Street Seaport, as it was built in Hamburg, also mentioned in the song. Further pedantic note-the same Peking can be seen in portions of Oysterband's video for New York Girls from 1989!

I've criticised Fairport's latter day albums, but I'm enjoying Festival Bell a lot.

There's a great "modern" sound to this album, very bouncy...

Listening for the first time whilst typing (praise I-phone!). I've only got as far as reunion hill, but really impressed so far. It sounds crisp, no 'tweeness', and excellent songs. If it continues in the same vein, could be the strongest studio output since Jewel. Good one! ;D

After a few more spins the instrumentals grow on me. Even if the Reward hasn't come up on top, all three sound rather "unfarportish" in a positive meaning. Experimental yes, and fresh. My thoughts go way back to the FH and 9-lineups instrumentals. Very refreshing!

Well, I've been living with the album since Friday evening, and each listen reveals something different... lots of little details, like the percussion on Mercy Bay - there's a sound not unlike "detuned sleigh bells" - for want of a better description - that evokes (to me)Native Canadian/First Nation/Inuit/Eskimo ritual.

The sound & production is really clear, the playing and singing are top class, and there's only track that doesn't immediately "grab" me - London Apprentice - but it might grow on me... who knows.

Other than that, the rest of the album is, IMHO, really strong, melodic and accessible - I'm even enjoying the Ukulele Song (at least for now).  Well done the Chaps & Mr Gale.

Mercy Bay is in the Canadian artic sea area, north of the North Western Territiories, so good call..

Festival bell - arrived yesterday and I listened to it twice in one go- which is something I rarely do.
For me, it is a great album.
In the best possible sense of the word it feels cosy for me.
For lack of better words: it is like your old living room with some new furniture or decoration  in it.
You know and cherish and are familiar with the basics but you are delighted by some new details.
Well done, chaps.

Peter

Is it available to download from anywhere? Or is it only on sale via the FC web site just now?

Hope I get this for my birthday!

Pugs ,I think this may be a subtle hint ;)

I almost certainly will as I shall be at the Union Chapel gig on mine!

I've been listening to the new CD on my commute to and from work for the last week or so.
I haven't enjoyed a new Fairport studio album this much since XXXV came out back in 2004.

My Favourites are "Rui's Guitar", "Celtic Moon" and the 3 instrumental tracks "Danny Jack's Chase" "Albert And Ted" and "Danny Jack's Reward". The instrumentals include some great percussion from Gerry and bass from Peggy, as well as the expected fiddle work outs.

Simon's lead vocals are excellent on "Mercy Bay". Well they're excellent on all the songs he sings on the album, it's just that, so far, the songs "Reunion Hill" and "Around the Wild Cape Horn" are less to my taste.

"Festival Bell" is a good song, but doesn't seem new anymore having heard it over the last few years on tour, at Cropredy and on the "off The Screen" DVD. The faint peel of bells at the end was unexpected and finishes off the song, and album, nicely. Top marks whoever came up with the idea.

I didn't think I would be that bothered about "Ukulele Central", but you know what, it fits in well on the album, and has me singing along every time, so I'm glad it's there.

The only song I'm not so keen on is "London Apprentice".

It's a damn good album and I look forward to hearing the songs live at the Stables in March.

Ah, I followed it up y'know and it's arrived today, hurrah!

Playing as I wordprocess  ;D

Just had the first listen - it makes me smile.  ;D

Off for a second listen, to see what I *hear* this time

Here's our review to be published soon...

Fairport Convention
Festival Bell
Matty Grooves Records
FESTIVAL Bell is the latest CD from folk rock legends Fairport Convention.
It is the band's first new studio album for four years and features 13 new songs and tunes plus a stunning revival of Sandy Denny's classic Rising For The Moon.
It is instantly the band's most accessible and probably most 'commercial' album for many years.
The CD includes compositions by Fairport's Chris Leslie, Ric Sanders and Dave Pegg, two new songs by legendary singer-songwriter Ralph McTell, three other guest compositions and the aforementioned  reworking of Rising For The Moon.
The title of the album (and the eponymous song) celebrates the church bell inscribed 'Fairport Convention Festival Bell' in the tower of St Mary's Church in Cropredy, Oxfordshire.
The bell was cast and installed in 2007 and funded by donations from fans attending Fairport's annual music festival in Cropredy.
Personal stand-out tracks are the haunting Mercy Bay and Carolyn Evans' equally moody Celtic Moon.
Another two songs which stay with you long after the album has finished are Chris While's stunning Darkside Wood and McTell's Around the Wild Cape Horn.
The album is interspersed with some brilliant tunes by Ric Sanders... none more so than the quirky couplet of Danny Jack's Chase and Danny Jack's Reward... just listen to the juxtaposition between Ric's fiddle and Peggy's bass work.
Ukelele Central is lots of fun too.
Few could better Sandy Denny's rendition of Rising For The Moon... but Chris Leslie comes pretty damn close here.
All in all a cracking album and highly recommended.
9/10               

Stand out tracks for me so far, Rising for the moon, Celtic Moon and Reunion Hill.  Always skip Ukelele Central tho, sorry don't like that one!

I must admit I approached Festival Bell with some trepidation given the decidedly lukewarm “advance reviews” that were appearing on this board. Now, I may be missing something or perhaps I’m just a little slow but I absolutely love this album. I think this is a particularly fine collection of songs and instrumentals that comfortably holds its own in the Fairport canon and rewards you with something extra every time it’s played. As mentioned by earlier reviewers there’s an accessibility and warmth about it that leaves you satisfied and fulfilled without ever feeling twee or “safe”. Even the much debated Ukulele Central sits well in a running order that grabs you immediately with Mercy Bay, delights with Rui’s Guitar, gratifies with Around The Wild Cape Horn, surprises with Albert And Ted and leaves you smiling with Festival Bell. I think FC have cracked it with this one, playing to their individual strengths whilst achieving the aim of all bands by making the whole even better than the sum of the parts. Roll on Cropredy!

OK, Fiddlestix subscribers got this first, then Facebook friends and now here!  I put together this review in a fit of inspiration ths afternoon:

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There was a time when the phrase “best album by the current Fairport line up” wouldn’t have meant quite so much.  As we all know, for the first couple of decades of their existence, the band had regular changes in personnel to the degree where having more than a couple of albums by the same people was quite a noteworthy occurrence.   By contrast, the last couple of decades have been quite steady by comparison, with the current line up very close to its 13th anniversary.  That’s more than most bands can manage in the first place!
 
By the same token, new albums have been several years apart; the most recent having been 2007’s "Sense Of Occasion".   That had some very fine moments but perhaps not enough to match "Over The Next Hill" (2004) as many peoples’ favourite CD by the “Chris Leslie years” of the band, if one may put it that way.
 
Now along comes "Festival Bell", and while it has enough of the familiar Fairport sound to keep everyone happy, the combination of an outside producer (John Gale), a different studio (The Bowman’s Retreat) and a different recording method (individually rather than collectively) gives it a somewhat different kind of feel.  It’s slightly tricky to pin down exactly how this is so, but it will probably be apparent to those familiar with the band’ recent work.
 
There seem to be a few more chances being taken with the music and its presentation as well.  Nothing especially radical, but it’s noticeable and welcome in for example Ric Sanders’ related instrumental sets Danny Jack’s Chase and Danny Jack’s Reward.  In both cases, the tunes go to some quite unexpected places with touches of reggae and maybe a bit of jazz among the folk rock - and it works well.  The fact they may need a few listens to truly appreciate is another indication that we’re all in slightly different territory here.
 
The lovely song Celtic Moon shows another side to the experimentation, in this case with the personnel and their roles.  Dave Pegg forsakes the bass for lead vocals, acoustic guitar and mandolin, with Chris Leslie on violin, Gerry Conway on drums and Sanders on bass ukulele!   Unlike Ukulele Central, this is not a novelty song however, but a great piece of writing from an outside source, in this case Carolyn and Mark Evans from the duo Red Shoes.  Again, it’s a successful experiment that should be commended as such.
 
Elsewhere all is as expected, with Leslie providing the bulk of the original material, and he and Simon Nicol taking turns for the lead vocals.  The opener Mercy Bay, though written by Leslie, is sung by Nicol and is an excellent start to proceedings - a strong folk rock ballad with passionate vocals and an appropriate “death at sea” theme.  It is also only one of a handful of tracks to feature Nicol’s electric guitar which, even when present, is reasonably subtle in the mix.  Yet despite this more acoustic approach overall, there is still quite a strong rock element throughout.  This is surely helped by Dave Pegg’s very funky bass on tracks such as Mercy Bay and the instrumental Albert & Ted, which he wrote in collaboration with Ric Sanders in honour of their respective fathers.
 
As mentioned, the original songs are by Chris Leslie, whose style is appreciated by many but decried by some as often too lightweight.  I wouldn’t worry too much about the latter this time.  Even the more pleasant material such as Rui’s Guitar and the title track is still well structured and memorable.  As always, he also brings in a range of instruments besides the violin and mandolin, such as Portuguese guitar (the one mentioned in Rui’s Guitar presumably), bouzouki and whistle, all played with the skill and apparent ease one would expect.
 
Leslie also sings lead on the re-recording of Rising For The Moon, which might seem a little daunting considering the originality of its original author and singer Sandy Denny when it was first recorded back in the mid 70s.  Somehow though, the band has arranged the song to fit the current Fairport and it sits comfortably among the rest of the tracks.
 
Ric Sanders also adds some restrained keyboards to the ballad Reunion Hill - a great track - but otherwise his fiddling is perhaps a little more tempered than usual where it needs to be, but still as frenetic and enjoyable as ever on his own tunes in particular.
 
When it comes to the lightweight, “nice” material which still seems to be part of Fairport’s oeuvre these days, the main contenders would have to be the Ralph McTell songs.  Even then, I found Around The Wild Cape Horn in particular to be the sort of catchy song that sticks in your mind despite your objections - I hate it when that happens!  One could maybe say these lighter ones disrupt the flow of the more substantial material surrounding them, but they do lighten the mood and provide some diversity, so fair enough.  The same could also be said of Ukulele Central, where ukes and washboard abound, extolling the versatility of the instrument with guests Joe Brown and Frank Skinner.  Not a classic by any means, but good enough fun.
 
Another important point to note is that there are no traditional pieces on "Festival Bell", which is unusual on any Fairport album.  However, a number of tracks do have trad tunes interspersed throughout, even if uncredited.  Amusingly, it is the Morris tune Ring O’Bells used as part of the melody for the title track - a nice musical pun.
 
I imagine it’s stating the obvious to talk about the quality of the playing and the vocals, but I might make special mention of Gerry Conway’s drumming and percussion - at times, it is quite busy but never distracting in the context of the arrangement or the song itself.   Nicely done, especially considering his parts were recorded in an entirely different studio, Sound By Design's Delta Studio!
 
“Centuries go by / still our voices sing” is a line from The Festival Bell, relating to the actual bell that bears the band’s name in the Cropredy village church.  With regards to Fairport Convention itself, I don’t think anyone will claim centuries but it’s close to 45 years so far, and still with the ability to surprise and entertain a worldwide fan base.  Oh, that whole “best album by the current Fairport line up” thing?  Definitely appropriate, to my ears.
 
Michael Hunter

Somebody said, in response to low expectations of this album expressed by myself and others, that it would be unlikely for the current line up of Fairport to deviate far from the template that they have established over the last 13 years and neither do we have the right to expect them to. That is an absolutely fair comment. It is unreasonable for us to expect them to be the band and the people that they were 20, 30 or 40 years ago (according to personal taste). And yet...

My expectations were founded on the drift towards twee and tasteful that the band's recorded output has largely represented over the last decade and a bit. However, the above reviews combined with the live performance of much of the new material on the current tour gave me hope and I found myself looking forward to hearing the new disc. I finally picked up a copy of the album at the weekend and have now been able to give it a listen and my verdict? Well, I have to profess myself ...disappointed.

It is my problem. I can't help myself. I do want them to be the band they were 20 or 30 or 40 years ago. I will settle for any of those incarnations. But my fellow TAWer was right, the album does not stray far from the familiar sound of recent albums. There are good songs here and the instrumentals are wonderful but the sound lacks edge or muscle or electricity, in other words the rock element of the folk rock equation. There is another pleasant but unnecessary retread of former glories and the central section of the album dives headlong into that morass of the twee and the tasteful only coming up for air on Albert & Ted & Darkside Wood. That is a shame because things start and finish well and I think Michael is exactly right when he says above, "One could maybe say these lighter ones disrupt the flow of the more substantial material surrounding them." However to me they do not lighten the mood but break it and also fatally undermine the consistency of the record.

My favourite track, at least initially, is Reunion Hill but even that sounds more like something from one of Simon's two very fine solo albums.

All in all then, not the atistic leap forward/backward that I had hoped for. It is a bit of a curate's egg. I just wish the good parts had a little more bite. It is one for fans of the band's smoother, more acoustic direction. The rest of us will just have to keep on being unreasonable.

Real shame we didn't talk at big ses last yr. I could have written this!

Like Hendo, Al, has said everything I could have done, and in a far better way...  Unreasonableness has never been stated more reasonably  :)

I really enjoyed this album and think that 'Mercy Bay' is a genuine contender for next year's Hancock's.  It's also nice to read some thoughtful criticisms, even though I don't always agree with them.

Ok, have had several listens now, and the tracks just seem to get better and better each time.

Mercy Bay: Is a really great track. Chris has prooven many times that he is a great writer, and this track is no exception. Great vocals all round on this one, Simon does a great job of lead vocals, and the backing vocals are really nicely mixed.

Rui's Guitar: I've liked this one since I first heard it at Cropredy last year, though I can't figure out what it's really about. I know it's sung on Rui's Guitar but it's not sung about Rui's Guitar. Nevertheless, I still love this one and love the sound of the Portuguese guitar.

Danny Jack's Chase: I love this tune, when it's performed live. The album version doesn't have that same thrill that the live version does. The drums are mixed far too low, the Guitar and Bass are little bit too tame and there's a bit too much Mandolin.

Reunion Hill: This one reminded me of two other Fairport tracks: Red and Gold and Summer Before The War. It is another one of those reminiscent war songs in which you feel for the 'speaker' of the song. This is another one which Simon sings beautifully.

Wouldn't Say No: A song which is very close to my heart (Chris dedicated it to my folks at Cropredy last year, as Cropredy was their honeymoon) and I love how rocky they have made this with the Electric Guitar!

Around The Wild Cape Horn: This one I believe could stay in the repertoire for a very Long time, one of the most heart warming songs from Ralph I've heard yet!

Celtic Moon: The lyrics are really nice on this, and I love the idea of everyone taking on different roles in the band, with Peggy taking the lead role on Vocals, Guitar and Mandolin.

Ukulele Central: What can I say? I can't help but strum along with it every time I hear it!

Albert and Ted: Hmmm. Clever, but dead confusing! Great Bass playing from Peggy here as well!

Darkside Wood: I was thrilled when I heard they were doing this, and I like their version, but can't help but prefere Chris W's. It's more suited to her bluesy voice. I did however really like the haunting violin playing on Fairport's version.

London Apprentice: This one's OK, but that's really all it is. Lyrically, I really like it, but I just find it to be a bit short.

Rising For The Moon: Chris does an absolutely wonderful job of singing this one. And Ric does a great job of Swarb's fiddle part (but let's be honest, when doesn't he?)

Danny Jack's Reward: Wow. Having heard it live and on the CD, there is not much difference between the two of them. I can still feel the vibes and the energy on the CD that I could when I was hearing it live. It's just a bloody brilliant track.

Festival Bell: I still like this one, but not as much as I did when I first heard it. I've heard it so many times now that it's just another track. However, the important thing about this track is that it is dedicated to a wonderful thing, and it makes a really good closing track!

The beginning of London Apprentice (the feet) for some reason makes me think of Beryl Marriott........and so makes me smile :)

"Significance is obvious but meaning is non-immediate" as someone once said.  

Start by researching Fado.

Still elusive but then the best songs often are.

@ Delfini.  I know what you mean.  There is something a bit Beryl Marriott about the way the Fairports have presented London Apprentice - a tribute perhaps :)

Does anyone know if the chaps made a conscious decision to visit the studio separately, or was it because their diaries didn't allow for them all the be present at once?

I think the studio was effectively Ric's house which may have precluded full group performances. I imagine cost played a part in the decision to record this way.

Just reread this thread and realised my review is not there.Must have typed it, got destracted and not posted it.(Far too many 12 hour plus shifts.)
Most of my thoughts have been covered by other folk, I'll just say this, though.
On first play I really thought that this was the best album by this line up so far.Having played it in the car for a while I now think this is the best album by some of the other line ups too,(if you know what I mean).It's a definite grower,and some of these songs will become live staples for some time I reckon.

Favourable review on the BBC here:

http://www.bbc.co.uk/music/reviews/v5wx

Don't all rush in case it causes BBC Online to crash again ;)

Never thought I'd see the phrase "jazz-rock" in an FC review!

Good comments from Sid though - I reckon he's just about got it right.

Well, they've had a jazz-rocker in their ranks for the last quarter of a century, so I'm not quite sure why you're so surprised :)

Four star review from The Guardian. Apparently Richard Thompson used to be in the group...  ::)
http://www.guardian.co.uk/music/2011/apr/07/fairport-convention-festival-bell-review


(Sadly there is no Grauniad-style typo which would then have described Around The Wild Cape Horn as a 'gusty' ballad, but you can't have eveything.  :) )

Peggy, a sturdy lead singer?  ;D

Poor Chris.  You've got to feel sorry for the lad really.  First of all there's apparently now three lead singers, which I would consider a dubious claim at best, and second, having carried so much of the vocal duties this Wintour he's the only singer that doesn't get named as such.

Having been laid up with a chest infection I've not got mine yet. :( Just stuck in an order, so I'll see soon.

Well after some very gracious help from Office Drudge Mr. Nicol and Gareth in getting my copy to me last week after a slight delay, and after many listens, I proclaim it the best Fairport album I have heard in years. Won't do a song by song list but there is a flow to this album, like any really good album in which one song just flows into the next one naturally. It doesn't feel like 5 or 6 good tracks surrounded by throwaways. I really enjoy the entire album, and might I add, it sounds fantastic as well. Gerry's drumming, and Peggy's bass in particular are standout. WHile I have agreed on here before that I miss the electric sound, I think it has to be said that as an acoustic-ish album it shines. What I mean is the acoustic sound on Festival Bell is sharp, crisp and works really well pared with the songs. I disagree strongly with the twee aspect mentioned in the middle of the album (yes I know Im late getting to this!), I don't really see it. Uke Central is fun, don't take it too seriously. Around The Wild Cape Horn is exactly the type of song I want to hear on a Fairport album. Ric's instrumentals are fresher sounding than any of his more recent ones IMO, and I think Chris's songs are more focused and sharper than in recent albums. ALso want to mention that I think starting the album with a song such as Mercy Bay really shows how much the band themselves like the finished project. Starting with a song that builds up, rather than the attention grabbing fast paced opener is a sure sign of a band confident of the songs. Nicely done boys!

Having got it - I like it. Maybe not their best ever but it's been on me player for weeks.

Crumbs, such a long time since anyone wrote on this thread!

I like the CD, generally, with one or two exceptions. A question. Is anyone else reminded of the theme from Doctor Who during the opening bars of "Danny Jack's Chase"? No? That'll just be me then.

I enjoyed Rui's Guitar, DJs Chase, Mercy Bay and Reunion Hill. Wouldn't Say No, however is a track I DO say no to, every time. I just can't get into it at all.  :P

Around the Wild Cape Horn and Celtic Moon are okay. Ukulele Central I LOVE. Yep, I know it's a "novelty song" and irritates the pants off a lot of people,  but it puts a smile on my face every time, so that has to be a positive result.  :) Similarly, Albert and Ted. Much as I love the music of Chris While (author), I don't care for Darkside Wood. Chris Leslie does a fine job of playing and singing it of course, but the song does nothing for me.

London Apprentice/Johnnhy Ginears slips my memory for the moment, which probably says it all. Rising for the Moon is, of couse SUPERB. Such a wonderful track, and great to hear it again on this CD. Danny Jack's Reward is a welcome treat. The Festival Bell, commemorating as it does, the bells of Cropredy Church, has to be a star track.

A lovely album. Thank you Fairport Convention.  :-*

I much much prefer chris and Julies version of Darkside wood I'm afraid fairports just doesn't do it for me.

Same here, Chris and Julie's version has much more 'fire' (sorry for the pun) in it.

Wild Cape Horn has grown on me, especially since seeing the YouTube clips of the voyage, but my top three are still Mercy Bay, Rui's Guitar and Reunion Hill. I had the same initial reaction as you GF to Wouldn't Say No but quite enjoyed it at Canterbury on the Acoustic Tour when they gave it a lot more oomph!

I should have said Dartford not Canterbury.

Having read this thread its reminded me that I did eventually buy this album.  ::)  I like about 4 tracks and then IMO it deteriorates into 'easy listening' and total ruination of Ralph's fine songs and that its in the 'not played very often' section of my collection. In fact only last week I have ripped the faves from all of my albums, not just Fairport, and now I have a lovely play list on my pc.  ;)

Any help in identifying the tracks that aren't 'easy listening' would be gratefully received...

I think that may be a little harsh David. I agree with the views that it deteriorates after a strong start and my feeling is that there is about half a decent album buried in there. Mellowness does not necessarily equate to easy listening and I would argue that Mercy Bay, Reunion Hill, Wouldn't Say No and Festival Bell itself are all strong songs and performances.

Well, its all relative anyway-couple months in and I still think its one of the best things Fairport have done in years. I have my little quibbles as well, but I think from top down (as compared to Sense Of Occasion) this was a rethink on the band's part. I still think it sounds fantastic sound quality/production wise. Have not heard Chris and Julie's Darkside Wood, so I have no comparison to make, but I have heard Ralph's Cape Horn. I am very often conflicted in these matters, because the Gladys' Leap on to now Fairport have done good interpretations of songs by Steve Tilston, Julie Matthews, etc, but most especially by Ralph. and being a huge Fairport fan, and a huge Ralph McTell fan, I can never say with any truthfulness that I prefer one version over another. That is not the case with the first two I mentioned. I think Slip Jigs and Reels, Naked Highwayman to name two, are better versions than Steve's, and I think Jewel In The Crown is better than Julie's own version. Somehow I can't do that with Ralph's songs. So if you like Ralph's or Chris While's versions better, fair play to you!

Well, thats my two cents.....we can debate NEXT WEEK at Cropredy if anyone wants.  ;)

That sounds like an offer of some fisticuffs Robert!!!  ;)  Oh, and please bring your bowler hat. I saw on another thread that it wasn't gonna make the journey.
How can this be true?

Well as to point one....the Irish temper does come out sometimes..... :D

Yes its true-much as I would love to wear the bowler, it doesn't pack well, and because I am lugging a backpack, instead of a suitcase, I just don't see how I can bring it, Tell you what, if I can figure it out once I'm done with packing it all up, I will reconsider!

dont pack the hat, just wear it
problem solved

I was just about to post that myself!

OY! yes, I had of course thought of that.....so not to  be accused of thread drift.....Wouldn't Say No....but I also Wouldn't Say Yes  ;)

I loved Reunion Hill! A beautiful ,heartbreaking, song. I was very surprised that Chris played a whistle though. He very kindly added an extremely beautiful fiddle track to our version of it for our  CD a few years ago. I really enjoyed hearing it at Cropredy last night. A fantastic evening all round. A few tears were shed.....as usual!

I brought the album the week before Cropredy so it isn't overplayed yet.
Both me and the wife like all the tracks, except for Ukulele Central. We have really tried, but we can't stand it. I've never been so happy to have a skip button.
Rui's Guitar has been a bit spoiled for me. At Cropredy, the drunken bloke next to me was singing along quietly, even though he didn't know any of the words. Every time it came to 'Rui's guitar', he constantly shouted it out at the top of his voice.
I can't get the image of his big mouth and the sound of his loud voice out of my head, but I hope to in time cos it's a nice song.
It's hard to pick an outstanding track, cos I like so many  :)

I've been a regular grump as far as FC recent material is concerned. The band does have of course a mightly legacy to compete with. But I must admit, Festival Bell has pleasantly surprised me. In fact, I think it's very very good and their best since Jewel In The Crown. Easily the best by this line-up.
Whereas I am still thinking: add PJ Wright to the band. He's been in the periphery long enough, guested regularly and can add that much needed 'oomph'. Until then though, Festival Bell will do just fine for me.  

It seems ever since '85, there's been the slant towards the middle-of-the-road, play it safe material. Yet, the past twenty-six years have produced some great songs and yes, some fine albums. I'll be the first to say that I held out until quite recently to pick-up a copy of Festival Bell simply because Sense of Occasion left such a bad taste. having listened to FB a few times now, I must confess that I am quite pleased with it. There's a nice mix here that balances out the proceedings and songs like Mercy Bay, Rui's Guitar, Reunion Hill, along with the instrumental prowess displayed on Danny Jack's Chase and the standout Danny Jack's Reward simply blew me away! The arrangements this time out seem a bit more thought out and dare I say that the band is genuinely challenging one another? Sure sounds like it. I'll go so far and say that FB is the best overall FC album since the band reformed. Sure, there's a weak spot or two, Ukulele Central come instantly to mind. However, even Peggy sounds good on Celtic Moon and it's just that type of song and performance that makes FB a pleasure to listen to. This sits nicely alongside Jewel, TWaTW, and OtNH. Def worth having!  

You sum it up perfectly for me.
In recent years I have been more of an ‘occasional’ listener to Fairport for this very reason. (btw Live I think they are as good as ever). I have time and time again felt that much of the recorded material is full square rooted to easy listening MOR. Dare I say, insipid at times.

I can’t help but compare it to the last Steeleye album (where, unashamedly my preference lies in their last 20 years of recorded material) where conversely to this FC one, the whole album is Trad. Arr.
And to my ear the Steeleye album (Cogs, Wheels and Lovers) ends up with more originality, deeper shades (of Rock & ‘gentle’) and just better songs with better and more interesting arrangements. And why Simon is hiding away his Electric guitar is totally beyond me.

However, I do still like FC and I do agree with most people that this is quite possibly their best album for 25+ years. Mercy Bay is indeed a tour de force and worth the admission price alone. They really do need to get some of the Rock and ‘Uniqueness’ back into their recorded material.

Although probably a ‘younger’ fan of Folk/Folk Rock (i.e. under 40..just..  ) I long for more of the material (both Steeleye and FC) from the classic years of 69-72. I know it can’t happen but I sense Steeleye are the band still most ‘connected’ to their (and my) roots.

I will keep buying and supporting though!

I play this album a lot and agree it's their best in years. Ukulele Central sounds so much like authentic 1940s popular music that I, too, just have to skip to the next track - not a genre I could ever learn to love. But the rest of the album contains some real classics in the making.

Just would like to add to someone's comment about Simon's electric guitar playing. I don't know the man (we only met a couple of times when my old band opened for Fairport some years ago), but I get the impression (correct me if I am wrong, please) that he thinks he sucks at electric guitar. The why of that quite simply eludes me...I think he is an exceptional guitar player on both electric and acoustic!

Or maybe he just doesn't like playing electric. What do I know? As I say, I don't know the man.

I must agree about Simon's prowess on the guitar.  I recall seeing him with the Albion Dance Band at Folk Song '76 (yes, I'm an old git!).  I can't remember the piece he played (it wasn't Merry Sherwood Rangers), but my friend sitting next to me - no mean guitarist himself - exclaimed: "Bloody hell - is that just him?!"

Quick question. Just returning to "Festival Bell" after a while...

Can anyone identify the hornpipe that Ric and Chris play in Wild Cape Horn?

I heard him say not many years ago that playing electric guitar bores him these days, but it was a post gig aside, and I don't know how seriously you should take those sorts of comments. Might depend on how well the gig went I suppose.

Too much standing next to Richard Thompson?