RICHARD FALK's REVIEWS
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Combat Astronomy (USA/UK): Dreams No Longer Hesitate (Zond 01CD, CD, UK, 2008)
Jazz/Rock/Progressive/Avant-Garde
Elaine Di Falco (lead vocals, piano)
This interesting outfit was led by multi-instrumentalist James Huggett and included the prolific British avant-gardist Martin Archer; this was their third album and the first with a female musician. Musically it’s rather good zeuhl, whilst also hinting back towards the early work of Di Falco’s first band Caveman Shoestore, with Huggett’s growling fuzz bass and staccato drums underpinning Archer’s free-form winds. At times it sounds almost Japanese, hinting towards the faint industrial and metal edges of bands like Bondage Fruit and Koenjihyakkei, though the long, minimalist soundscapes and emphasis on bass and drums put me in mind of fellow Americans Ga’an. If it has a failing, it’s fifteen or twenty minutes two long, but at least it ends with something completely different – the uncharacteristic ballad ‘Ordinary Miracles’ penned by Di Falco. GRADE: B–.
Combat Astronomy (USA/UK): Earth Divided By Zero (Zond 02CD, UK, 2010)
Jazz/Rock/Progressive/Avant-Garde
Elaine Di Falco (principal vocals)
This is shorter than Dreams No Longer Hesitate, which works in its favour: so does its drive, its energy and its single-minded intensity, creating music that goes beyond contemporary Magma in its raw power. Almost exclusively instrumental, highly formless and strongly influenced by free jazz, it hints towards some of the craziest seventies performances of Mekanïk Destruktïw Kommandöh, whilst also recalling numerous modern zeuhl acts in its doomy simplicity – uncompromising stuff. GRADE: B.
Combat Astronomy (UK/USA): Time Distort Nine (Zond 06CD, double CD, UK, 2014)
Jazz/Rock/Progressive/Avant-Garde
Kelli DeNoyer (occasional vocals), Julie Archer (occasional vocals)
The scope afforded by a double album really allows Combat Astronomy – this has everything from driving zeuhl to avant-garde improvisations. Perhaps unsurprisingly, not everything works perfectly, but perhaps surprisingly this lengthy set holds the attention from start to finish.
GRADE: B–.
See also 3 Mice, Caveman Shoestore, Empty Days, Ligeia Mare, Luciano Margorani & Elaine Di Falco, Thinking Plague, Dave Willey & Friends
Comfortable Chair (USA): The Comfortable Chair (Ode Z 12-44005, 1968)
Psychedelic
Barbara Wallace (joint lead vocals)
This album is best-remembered for being produced by two members of the Doors, but it’s an interesting piece of work in its own right. The opening ‘Ain’t No Good No More’ is almost proggy, built around a distorted organ riff and with a rather amateurish feel, but most of the rest is dreamy ballads with an eerie and rather trippy mood. The heavier ‘Be Me’, which opens side two, is probably the best thing on offer. GRADE: C+.
Combe Raleigh Country Folk (UK): Combe Raleigh Country Folk (MJB BEV LP 1134, 1971?)
Folk/“Incredibly Strange Music”
Carolyn Eagles (joint lead vocals), Vicky Gosling (joint lead vocals), Jenny McCabe (joint lead vocals), Adele Eagles (joint lead vocals), Val Fielden (occasional vocals, guitar)
Although not a school project, this kiddie-folk oddity certainly sounds like it, with massed vocals from youngsters aged six to 15 plus acoustic guitar and double bass backing from adults. With its quaint silkscreened sleeve and low-budget labels, it’s a nice enough historic artefact, but it’s certainly not a good album. On the plus side, the self-penned ‘Reflections On Love’, sung by Val Fielden, is very pleasant, and their version of ‘Maxwell’s Silver Hammer’ is bizarre enough to be memorable. GRADE: D+.
Common Sense (Greece): Sun Comes Up (Pegasus PEG 020, with inner, 1995)
Folk/Rock/Progressive/Psychedelic
Tatiana Stavroulaki (principal vocals)
The first three tracks are guitar psychedelia with new wave and gothic edges (notably resembling Siouxsie & The Banshees) but the remainder is haunting progressive folk, with the eerie ‘Draft’ being the best number. Whilst the band sounds more comfortable in a folkier mould, this is consistently good if never very distinctive. GRADE: C+.
Commuters (Holland/West Germany): Commuters (Amphibious A 009, Holland, 1983)
Avant-Garde
Dagmar Krause (lead vocals)
This odd record, combining the playing time of a 12" single (16 minutes of music) with the format of an album (a full 10 songs) unites the voice of Dagmar Krause with the solo piano of Ronald Heiloo on ten short Brechtian vignettes. This skeletal approach could have worked well if the songs were good, but these tuneless nonentities merely resemble tenth rate Art Bears castoffs. GRADE: C.
See also Art Bears, City Preachers, Lindsay Cooper, Henry Cow, ID Company, Dagmar Krause, Slapp Happy
Compagnia Digitale (Italy): La Compagnia Digitale (Mellow MMP 109, CD, 1992, recorded 1979)
Progressive/Psychedelic
Lady Mantide (piano)
Like its previous incarnation as SNC, this Celeste offshoot seems to have existed only as a live act, though musically this is closer to its other incarnation as St Tropez. The music here is close to seventies Steve Hillage, with three long jams drenched in trippy synthesisers and glissando guitar; anyone liking Hillage or You-era Gong will find plenty to enjoy here. GRADE: B–.
See also Celeste, SNC, St Tropez
Company Caine (Australia): Doctor Chop (Lamington LAM-329, with insert, 1976)
Rock
Shirley Smith (backing vocals)
They were a legendary Aussie band, but this is a pretty inconsequential LP, mostly consisting of lightweight boogie rock. That may be partly because it was thrown together from different bits and pieces: one side is live, two cuts are previously unreleased full-length versions of a 1971 single and its B-side, and the remaining three numbers are new studio recordings. On the plus side, there is some good lead guitar work on offer. GRADE: C.
Computer Sex (USA): Body Electric (Eclectric, 1984)
Pop/New Wave
Jewel Star (joint lead vocals, guitar, bass, Chapman stick, synthesiser, programming, flute)
This husband-and-wife duo look like a slick metal act on the cover, but this is actually electronic pop/rock typical of the era. The music sometimes draws on psychedelic and progressive influences (notably on the instrumental ‘In The City Of The 7th Sun’), which has led to its being offered on underground rock lists. Overall it’s mildly interesting, but ultimately dated and very patchy. GRADE: D+.
Comus (UK): First Utterance (Dawn DNLS 3019, with insert, 1971)
Folk/Psychedelic
Bobbie Watson (occasional vocals, percussion)
Quite simply one of the most bizarre and unforgettable LPs in history, featuring music that is almost indescribable. Comparisons can be made with Amon Düül II’s Phallus Dei in terms of the clattering polyrhythms, wailing violin and warbling falsetto vocals, but First Utterance is far less rock-oriented, and thereby darker and more disturbing. A definite Incredible String Band influence can also be discerned, though Comus were far more assured and dynamic musicians. The weirdness of the music is further compounded by the almost unbelievable lyrics, including graphic depictions of rape, mutilation, murder and execution. The beautiful, serene 12-minute ‘The Herald’, featuring vocals from female member Bobbie Watson, is an unexpected oasis of calm amid the maelstrom. A 3-track EP was issued shortly before the LP, featuring an alternate take of the extraordinary opening cut ‘Diana’, backed by the brilliant non-LP tracks ‘Winter Is A Coloured Bird’ and ‘In The Lost Queen’s Eyes’. GRADE: A.
Comus (UK): To Keep From Crying (Virgin V2018, 1974)
Folk/Rock/Progressive
Bobbie Watson (joint lead vocals, percussion, recorder)
Apart from Roger Wootton’s peculiar warbling vocals (far less prominent here, since Bobbie Watson takes a large share of the vocal leads), this is unrecognisable as the work of the band that cut First Utterance. Whereas their debut offered a terrifying insight into the dark side of the human psyche, this is a pleasant and inoffensive blend of folk/rock, pop, progressive and mildly avant-garde elements, with backing from luminaries such as Didier Malherbe (Gong) and Lindsay Cooper (Henry Cow). GRADE: C+.
Comus (UK): Live At Melloboat 2008 (No label CDV030, DVD, with booklet, 2009)
Folk/Psychedelic
Bobbie Watson (occasional vocals, percussion)
Comus’s first gig in 36 years isn’t a spectacular affair visually, with the band, some seated, crammed onto a tiny stage. But to hear most of the First Utterance album (plus their version of ‘Venus In Furs’) performed live is a remarkable experience, and the musicianship is simply astounding. GRADE: B.
Comus (UK): Out Of The Coma (Coptic Cat NIFE 014CD, CD, with digipak and booklet, 2012)
Folk/Psychedelic/Progressive
Bobbie Watson (joint lead vocals, percussion, recorder)
The band’s belated third album is an odd beast, consisting of an EP’s worth of new songs plus an archive recording of the previously unreleased ‘Malgaard Suite’ from 1972. The new material offers good pastiches of the First Utterance style, whilst the 1972 suite is interesting if raw (and not brilliantly recorded). Nonetheless, this is a worthwhile release and augurs well for a whole album of new compositions. GRADE: B–.
Comus (UK): Live In Japan 2012 (Captain Trip CTCD-679, double CD plus DVD, with photographs, tour laminate and box, Japan, 2013)
Folk/Psychedelic/Progressive
Bobbie Watson (joint lead vocals, percussion)
Beautifully packaged (including a tour laminate and numerous glossy black-and-white photographs with lyrics and credits on the reverse), this limited edition release features a live set by the band in Tokyo. As with the Melloboat DVD, the contrast between their sedate, seated stage persona and the complexity of their music (not to mention the viciousness of their lyrcs) is remarkable. One could never acuse Comus, at least the noughties incarnation, of having any particular stage presence, but musically and conceptually they’re beyond compare. GRADE: B.
See also Bobbie Watson
Concent (UK): Music-Go-Round (Rudi 01, 1975)
Folk/Pop
Val Edens, Laura McDowell, Irene, Ann, Lynna, Pamela, Ann
Issued on a tiny local label, this obscure album was cut by a group of eight young girls from Northern Ireland who appear to be in their late teens or early twenties. From the cover, this looks like it should be Christian folk, but it contains pop and lounge elements as well, with partly electric backing and all-original songs. Describing them as ‘an exciting new group’, the sleevenotes claim that their music is ‘reminiscent of the middle-of-the-road music made popular by top groups such as the New Seekers and the Carpenters’, making the disc ‘a MUST for all age groups’. In reality, this sounds nothing like the New Seekers and only occasionally like the Carpenters, resembling a school project LP with its rudimentary backing and multiple pure voices. As a footnote, only the two songwriters are credited; I gleaned the forenames of five of the other six girls from autographs on my copy. Only a couple of copies have resurfaced of the album. GRADE: C+.
Concern (USA): America, Where Are You? (No label CLP-813, 1973)
Folk/Rock
Mary Kay Johnsen
Effectively, the third Guitar Ensemble album, this includes remakes of several cuts from its predecessor The You-N-You. The new material is a bit more uptempo and electric, and overall this is easily the equal of their earlier work. GRADE: B–.
See also Guitar Ensemble
Concrete Rubber Band (USA): Risen Savior (American Arts Custom AAS-1164, 1974)
Garage/Psychedelic/Avant-Garde
Jan Long (occasional vocals, keyboards)
This is possibly the oddest Christian private pressing ever made, with a style that’s extremely difficult to describe. The music is minimalist and keyboard-based, with a lo-fi, end-of-the-pier quality, though shot through with garage rawness rather than lounge kitsch. Some of the songs are almost MOR whilst there are moments of full-blown psychedelia, proggy keyboard fugues, weird synthesiser textures and lots of trippy and bizarre electronics that interject when least expected. The official CD reissue (Green Tree GTR 123, with digipak and booklet, Germany, 2007) features a full album’s worth of bonus material, much of which is significantly weirder and better than the LP proper. In particular, the suite ‘3 Ghost Stories’ is spectacularly eerie, and a whole album of such material would have been a classic. GRADE: C+.
Condition Green (Japan): ’83 Live (Disques Jean-Jean JJ1013CG, with insert, 1983)
Rock/Metal
At heart Condition Green are a barroom rock band: side one appears to be originals rooted in fifties rock and roll, whilst side two offers covers of ‘Get Back’ and ‘Whole Lotta Love’. However, their propensity for jamming and the sheer ferocity of their guitar work really sets them apart, and there is some superb hard rock and borderline acid-rock here. As a footnote, the band had previously cut two studio albums with an all-male line-up. GRADE: C+.
Condition Red (Finland): Condition Red (Lion Music LMCD 2003 2, CD, 2000)
Progressive/Metal
Ella Grussner (joint lead vocals, violin)
This progressive metal album has an unusual style, with the emphasis on the prog part of the equation (though there are heavy riffs aplenty). Jazzy jams and symphonic moments come and go, acoustic interludes are used to excellent effect and some early seventies-style organ links the band back to its roots in the music of Deep Purple, creating a fascinating tapestry of sound that constantly changes and surprises. GRADE: B.
Condition Red (Finland): II (Lion Music LMC077, CD, 2003)
Progressive/Metal
Ella Grussner (joint lead vocals, violin, flute)
By any standard, this is an impressive follow-up – alternating songs and instrumentals, it offers a fair degree of complexity. Nonetheless, something is clearly missing compared to its predecessor. In particular, the loss of the unpredictable jazzy elements, coupled with a thin and trebly production, moves this closer to a neoprogressive/hard rock hybrid – a very good neoprogressive/hard rock hybrid, it has to be said, but the depth and derring-do of their first is conspicuously absent. GRADE: B–.
Confrèrie Des Fous (France): La Confrèrie Des Fous (Ballon Noir BAL 13008, with inner, 1979)
Folk/Rock/Progressive
Emmanuelle Parrenin (occasional vocals, dulcimer, harp, vielle, épinette), Valérie Terrell (occasional vocals)
This unusual outfit brought together several luminaries from the French folk scene, including Laurent Vercambre (Malicorne), Gérard Lavigne (Lyonesse) and the traditional folk specialist Emmanuelle Parrenin; guests include La Bamboche’s Evelyne Béline Girardon and Malicorne’s Hughes de Courson. The end result is an odd progressive folk album with strong classical influences but also mainly electric instrumentation and quite a bit of electronics, with much of it having a light-hearted, somewhat satirical feel reflecting the odd cover. It’s an interesting and creative record, and a huge departure for the increasingly unpredictable Parrenin, but hardly likely to rival Malicorne among the greats of French electric folk. After this, Parrenin did not record for more than thirty years, finally returning in 2011 with a new solo album Maison Cube. GRADE: C+.
See also Chants À Répondre Et À Danser, Phil & Emmanuelle Fromont, Galant Noyé, Gentiane, Yvon Guilcher, Emmanuelle Parrenin, Phil Fromont & Claude Lefebvre
Conqueror (Italy): Istinto (Conqueror CNQ CD 001, CD, 2003)
Progressive
Simona Rigano (lead vocals, bass pedals, keyboards)
With tracks ranging from five to nine minutes and simple instrumentation of guitars, bass, keyboards and drums, this isn’t an enormously ambitious album or a particularly varied one. However, this is simply great progressive rock, with the band showing real flair for melody, riffs and dynamics, and an impressive standard is maintained throughout. GRADE: B–.
Conqueror (Italy): Storie Fuori Dal Tempo (Ma.Ra.Cash MRC 006 CD, CD, 2005)
Progressive
Simona Rigano (lead vocals, keyboards), Sabrina Rigano (saxophone, flute)
This is a huge step forward from their debut, with the second Rigano sister’s flute and saxophone adding a mellow jazzy edge that considerably deepens their sound. With five individual songs and a suite lasting over half an hour, this is an album of great dynamics and variety, with well-crafted melodic compositions and beautifully judged, restrained musicianship. In short, this is one of the best Italian progressive rock albums of recent years. GRADE: B.
Conqueror (Italy): 74 Giorno (Ma.Ra.Cash MRC 013 CD, CD, 2007)
Progressive
Simona Rigano (lead vocals, keyboards), Sabrina Rigano (saxophone, flute)
Whilst it contains some livelier passages, this concept album is in parts ominously mellow, showing the band settling into comfortable midtempo soft rock. It’s by no means bad, but it’s also by no means memorable, representing a significant step down from their first two LPs. GRADE: C+.
Conqueror (Italy): Madame Zelle (Ma.Ra.Cash MRC 019 CD, CD, 2010)
Progressive
Simona Rigano (lead vocals, bass pedals, keyboards), Sabrina Rigano (saxophone, flute)
A big improvement on its predecessor, this is a fine progressive album containing some good songs and excellent instrumental passages, incorporating some Eastern motifs for the first time. GRADE: B–.
Conqueror (Italy): Stems (Ma.Ra.Cash MRC 040 CD, CD, with digipak and booklet, 2014)
Progressive
Simona Rigano (lead vocals, keyboards)
The opening ‘Gina’ is rather dreary, packing reams of lyrics and a lengthy instrumental break into eleven leisurely minutes during which nothing much seems to happen. Sadly, it sets the mood for most of the album. The main culprit is the return to a simple line-up of vocals, guitars, bass, keyboards and drums: there is no incendiary instrumental work here, nor any really memorable hooklines, making for a competent, if rather one-dimensional, neoprogressive set. GRADE: C+.
Conqueror (Italy): Un’ Altra Verità (Ma.Ra.Cash MRC 049 CD+DVD, CD plus DVD, with digipak, 2015)
Progressive
Simona Rigano (lead vocals, keyboards)
Conqueror’s first live album is musically superb: this is top-class progressive rock that is dynamic, complex and assured without ever being ostentatious or pretentious. The accompanying DVD doesn’t add much to the experience – like many bands without a dedicated frontperson, they’re pretty static on stage – but the music here is quite sublime. GRADE: B.
Conqueror (Italy): In Orbita (Ma.Ra.Cash MRC 075 CD, CD, with digipak and booklet, 2019)
Progressive
Simona Rigano (lead vocals, keyboards), Sofia Ferraro (saxophone, flute, electronic wind instrument)
In Orbita is a curious album: it’s consistently tasteful and melodic, beautifully recorded and produced, and every now and again the music really takes flight, reminding you how great Conqueror can be. But for the most part it’s a touch too mellow for its own good, and ultimately falls just on the wrong side of the dividing line between ‘nice’ and ‘special’. GRADE: C+.
Conqueror (Italy): 20 Years Of Games (Ma.Ra.Cash MRC112CD, CD, 2023)
Progressive
Simona Rigano (lead vocals, keyboards), Sofia Ferraro (saxophone, flute, electronic wind instrument)
Conqueror’s first covers album takes in material by everyone from Pink Floyd to Marillion, Goblin to Procol Harum and Santana to the Moody Blues. Covers albums aren’t always the greatest idea, but most of the songs here are reasonably obscure and the performances are uniformly excellent, with the band offering lush, stately prog that’s never ostentatious or pretentious or conversely dull or boring. GRADE: B–.
Constantine (USA): Day Of Light (No label CLP 968, 2015)
Folk/Rock/Psychedelic
Jen Williams (joint lead vocals)
The first run of this private pressing sold out almost immediately, becoming a fêted and expensive rarity, leading to a (much more costly) second pressing. It’s hardly surprising, as Day Of Light is a modern masterpiece. Constantine Hastalis is a singer, songwriter and multi-instrumentalist of enormous talent and his album blends moments of crystalline beauty with passages of heavier and more dynamic acid-rock recalling early Pink Floyd. In fact, this is clearly among the best acid-folk albums of the new millennium. GRADE: B.
Construção (Azores): Hå Qualquer Coisas… (Disreco DR.L-00.03, with insert, 1982)
Folk/Jazz/Rock
Maria Antonieta (occasional vocals), Luisa Margarida (occasional vocals)
This extremely obscure album features jazzy folk/rock with a dreamy feel, sophisticated arrangements and plenty of flute. An enjoyable record throughout, it peaks on ‘Histórias Do Meu Avô’ and the closing ‘Sou Do Mar’. GRADE: C+.
Michel Conte, Angela Laurier & Mark Conte (Canada): Les Enfants Du Ciel (London LFS 90245, double, 1977)
Pop/Progressive
Angela Laurier (joint lead vocals)
This Québecois concept album avoids most of the pitfalls of the genre, with no rock opera elements; instead, it offers a procession of charming, sophisticated and whimsical pop songs plus a couple of effective instrumentals. Oddly, the final track consists of the album credits read over musical backing. Anyone who enjoys, naïve, otherworldly (yet quite assured and complex) pop music should love this. GRADE: C+.
Continental Uptight Band (Holland): Beautiful Friendship (Imperial 5C 054-24 319, 1970?)
Folk/Pop/Rock
Letty Verhoef (occasional vocals)
Although very dated, this is a lovely album of folky pop/rock, drawing on sunshine pop but with a distinctly European sound. The result is a charming period piece packed with great melodies and warm yet wistful vibes. GRADE: C+.
Continental Uptight Band (Holland): Roots (Imperial 5C 056-24 504, 1971)
Folk/Pop/Rock
Letty Verhoef (occasional vocals, percussion)
Their second and final album is in the same vein as their first, and again contains some lovely tunes. GRADE: C+.
See also Various 'FCU'
Contraband (UK): Contraband (Transatlantic TRA 278, with insert, 1974)
Folk/Rock
Mae McKenna (joint lead vocals, guitar, piano, tambourine, violin)
Inspired by Liege and Lief-era Fairport Convention and Steeleye Span, Contraband produced a classic album of electric folk, mixing superb traditional interpretations, tasteful covers and three excellent original songs. Best cut of all is a simply stunning version of ‘The Banks Of Claudy’, which achieves a haunting and mesmerising atmosphere. In a world where the most mediocre folk club album can sell for hundreds of pounds if it’s rare enough, it’s a relief to find a record of this calibre that can be picked up for a tenner. GRADE: B.
See also Dave Bainbridge, Mae McKenna
Contraction (Canada): Contraction (Columbia FS 94014, with insert, 1972)
Rock/Progressive
Christiane Robichaud (lead vocals)
Contraction are usually considered a progressive rock band, but their debut is often closer to soft rock. It’s a fine LP too, with well-structured songs, mellow moods and rich, dreamy instrumentation topped with Christiane Robichaud’s fine vocals. The proggy, wordless ‘Trois Ou Quatre’ is a particular highpoint, with some excellent ensemble work. GRADE: C+.
Contraction (Canada): La Bourse Ou La Vie (Deram XDEF 106, with insert, 1974)
Progressive
Christiane Robichaud (lead vocals)
Their second and final LP is as mellow as the first, but more adventurous and progressive, with the title track taking up 18 minutes of the second side. As with their debut, the band doesn’t deliver any real surprises, but the disc is lush, richly melodic and atmospheric.
GRADE: C+.
Contraction (Canada): Live 1974 (ProgQuébec MPM33, CD, 2009, recorded 1974)
Progressive
Christiane Robichaud (lead vocals, tambourine)
Mixing material from their studio albums plus some unrecorded compositions, this archive live set features the band at its best and most progressive. In fact, with excellent sound quality (though very little live ambience) this outclasses both their studio albums and is their best release. GRADE: C+.
See also Franck Dervieux, Yvan Ouellet, Ville Emard Blues Band
Contrappunto (Italy): Subsidea (Progressive Rock Worldwide PRW 050, CD, Brazil, 1998)
Progressive
Sara Arrigone (lead vocals)
Comprising seven songs and two instrumentals, averaging around the five-and-a-half minute mark, this is a pleasant album of keyboard-led progressive. Some complexity and mild experimentation is evident, particularly in the instrumentals, and there are some slight metal influences as well, but the songs can tend too far towards the mellow and commercial. GRADE: C+.
Contrappunto (Italy): Lilith (Megahard PRW 049, CD, Brazil, 2001)
Progressive
Adelaide Loru (lead vocals)
Recorded with a somewhat different line-up, the band’s second album shows them attempting to be more atmospheric on some cuts and jazzier on others. The new direction is not an improvement, not helped by relatively few instrumental passages or by Adelaide Loru’s thick Italian accent, which makes one wish she had sung in her native language. Strangely, this has a lower catalogue number than its predecessor, released three years earlier. A third and final album Elegie D’Inverno (Mellow MMP 455, CD, 2003), credited to Contrappunto Project, was an instrumental solo venture by band leader Andrea Cavallo, helped out by a few reeds players here and there. GRADE: C.
Convivium (Norway): Convivium (Polydor 2922 001, 1971)
Folk/Rock
Kristi Kinsarvik (principal vocals)
This enjoyable folk/rock album owes an obvious heavy debt to Pentangle, with its dual acoustic guitars and jazzy double bass. However, it also has a cool Scandinavian feel and a slightly more traditional mood in parts, with some baroque orchestrations in others. Highpoints include a very different reading of ‘Matty Groves’ from the Fairport Convention version and the sumptuously arranged ‘Lady Gwendoline’. GRADE: C+.
