Fairport Convention's ninth album is their most uneven. The group shows extraordinary virtuosity and musical instincts on folk-based tracks such as "The Hexamshire Lass" and "The Brilliancy Medley & Cherokee Shuffle" (which features some of the best mandolin playing you're ever likely to hear from an English band), but on numbers like "Polly on the Shore" and "To Althea From Prison," where the band supplies the music to traditional lyrics, they simply fall flat -- it isn't even that the playing is bad, so much as that the failed numbers are uniformly lugubrious in the way they're treated. Part of the problem lies with the fact that while
Lucas and
Donahue were good guitarists, they weren't terribly interesting -- where
Richard Thompson always came up with something surprising and unexpected on
Fairport's songs,
Lucas and
Donahue stick with fairly routine pop music sounds, more in keeping with
the Eagles than the group that recorded
Liege and Lief,
Full House, and
House Full. Lucas' "Bring 'Em Down" is a decent song, with some strong singing and playing by the composer and a lovely and powerful fiddle solo by
Swarbrick, but it overstays its welcome and loses its cohesion -- "Sloth" it is not. Too much of the album is taken up by easily forgotten contemporary-style rockers like "Big William" and throwaways such as the countrified "Pleasure and Pain"; not even the upbeat, riff heavy "Possibly Parsons Green" makes up for this problem. And the rather plain cover art didn't help matters any when it came to selling this record. [An Irish version contains bonus tracks.] ~ Bruce Eder