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29 of 30 people found the following review helpful:
3.0 out of 5 stars
Great music, sloppy package, 6 Jan 2006
I have always regarded 'Nine' as being among the best Fairport albums, representing the brief flowering of the post Nicol/Thompson band before the return of Sandy Denny changed the musical direction again. The previous album 'Rosie' was something of a stopgap but had marked the arrival of Trevor Lucas and Jerry Donahue, both former members of Sandy's band Fotheringay, and on 'Nine' they make major contributions. Lucas's rich and resonant voice and Donahue's fluent lead guitar were completely different from their predecessors, Sandy Denny and Richard Thompson, but they gave a distinctive tone to a revitalised and cohesive musical unit built on the sure foundation of the three Daves. Dave Swarbrick's playing is superb throughout, and his vocals are pretty good too, while Dave Mattacks and Dave Pegg are on top form.This album has been out on CD for many years, so what do the remaster and repackaging give us? Well the sound is certainly excellent, although I can't honestly say that I can pinpoint how and where the remastering has changed things. There are four bonus tracks. The Australian single release of "Fiddlestix" is here, complete with strings and banjo, and there are three 1973 live recordings made in London. Of these the most interesting is Bob Dylan's "George Jackson" of which, to my knowledge, no other Fairport recording has ever been released. The 'enhanced packaging' consists of a card slip-case and an insert booklet. The latter contains track details, photos, notes by Jerry Donahue and lyrics for the vocal tracks on the original album. It is with the last of these that my criticisms lie because I would expect the lyrics provided to be the correct, definitive, versions - which, alas, they are not. Several of them seem to have been produced by someone listening to the songs, mishearing them, and then just writing down their interpretation without any kind of sanity check or review. I smelt a rat when I noticed that the lyric for "Polly on the Shore" contained the lines 'Farewell my family and my friends, likewise my barley too'. Come again? I thought the young lady's name was 'Polly' not 'barley'. I then saw that in "The Hexhamshire Lass" and "Bring 'em Down" some words have just been left out altogether and in both these songs there are whole phrases that don't make sense. For example, in the former the line 'Her breasts are deep but full, they'll fall when I get near her' has become 'Her breasts are deep and cool, they'll warm when I get near her', and in the latter 'Your hearts are full of hatred' has become 'Your hearts are full of paper'! Admittedly some of the words ARE difficult to hear, but isn't that why we rely on having the right ones in the booklet? The worst case, for which there can be no excuse, is what the lyric-transcriber has done to the Richard Lovelace poem "To Althea, from Prison". Here 'my divine Althea' has, incredibly, been re-written as 'my divine now fear' and the lines 'When thirsty grief in wine we steep, When healths and draughts go free' have been transmogrified into 'When first decreeth in wine we steep, When healths and rafts run free'! Need I go on? So, although the music is certainly four star, the slapdash treatment of the lyrics takes the shine off the package and reduces my rating to three stars. We, and Fairport, deserve better.
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