FotheringayFolkrockbandSandy Denny 1970 nach ihrem Ausstieg bei Fairport Convention gegründet wurde.

Der Bandname wurde der melancholischen Ballade veröffentlicht hatte. Dessen Text handelt von der Gefangenschaft und bevorstehenden Hinrichtung der schottischen Königin Maria Stuart auf Fotheringhay Castle.

Musikalisch bot das Album ausgereifte Rocksongs mit gelegentlichen Country- oder Blues-Anleihen. 1971, während der Arbeiten für ein zweites Album, löste sich die Band auf, und Sandy Denny startete auf Anraten des Bandmitglieds und ihres späteren Ehemannes Trevor Lucas eine Solokarriere. Erst im September 2008, 30 Jahre nach Sandy Dennys Tod 1978, erschien das zweite Album . Jerry Donahue hatte es aus den Originalaufnahmen des geplanten zweites Albums zusammengestellt.


Remasterter Re-Release des gleichnamigen Folk-Klassikers von Fotheringay aus 1970, aufgenommen mit Sandy Denny, kurz nachdem die Kult-Sängerin Fairport Convention verliess. Das Album ist ein Meilenstein englischer Folk Music, das nachfolgende Musiker nachhaltig beeinflusste. Die neue Edition enthält 4 Bonustracks, aufgenommen 1970 live auf dem Rotterdam Pop Festival.


Fotheringay Lyrics



38 Jahre nach ihrem einzigen, gleichnamigen Album von 1970 erscheint quasi der ‚Nachfolger‘ der englischen Folkband Fotheringay, der bislang nie das Licht der Welt erblickte, da sich die Band um Kultsängerin Sandy Dennis (ex-Fairport Convention) während der Aufnahmen Anfang der 1970’er auflöste. „Fotheringay 2“ ist eine Kollektion aus unveröffentlichtem Material, remastered von den Original-Mastertapes, mit neuen Sleevenotes von Richard Williams und bislang nie gesehenem Bildmaterial. Für alle Fans von Sandy Denny, Fairport Convention & englischem Folk im allgemeinen!


Latest members reviews

To me this is almost a „best of Sandy Denny“ album. The songs she presents on Fotheringay is better than on any of her solo albums. I think it’s a shame that she didn’t get all the spotlight, because the non-Denny tracks brings the album down. However, songs like „Winter Winds“, „The Pond and … (read more)

Report this review (#68049) | Posted by 1971 | Thursday, February 2, 2006 | Review Permanlink



All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.


| Review Permalink Posted Wednesday, February 17, 2016 | Review this album | Report (Review #1529872)

| Review Permalink Posted Sunday, August 16, 2015 | Review this album | Report (Review #1453565)

| Review Permalink Posted Thursday, July 11, 2013 | Review this album | Report (Review #996105)

Review by Special Collaborator Honorary Collaborator

| Review Permalink Posted Sunday, January 18, 2009 | Review this album | Report (Review #199652)

| Review Permalink Posted Thursday, December 25, 2008 | Review this album | Report (Review #195015)

| Review Permalink Posted Thursday, December 25, 2008 | Review this album | Report (Review #194976)

| Review Permalink Posted Thursday, December 25, 2008 | Review this album | Report (Review #194975)

Review by greenback Special Collaborator Honorary Collaborator

| Review Permalink Posted Sunday, May 27, 2007 | Review this album | Report (Review #123584)

Review by Special Collaborator Honorary Collaborator / Retired Admin

| Review Permalink Posted Tuesday, January 30, 2007 | Review this album | Report (Review #109412)

| Review Permalink Posted Thursday, February 2, 2006 | Review this album | Report (Review #68049)

Copyright Prog Archives, All rights reserved. | | Advertise |

Other sites in the MAC network: — jazz music reviews and archives | — metal music reviews and archives

AllMusic Review by Dave Thompson

When Sandy Denny departed Fairport Convention, insisting that she wanted to concentrate upon her own songwriting rather than pursue the band’s exploration of traditional English music, she never meant she also intended abandoning the folk idiom itself. Although all but two of the songs on this, her first post-Fairport project, are indeed original compositions, it is readily apparent that, like former bandmate Richard Thompson, her greatest talents lay distinctly within the same traditions as the poets and balladeers of earlier centuries, while the fact that fully one-half of Fotheringay itself would eventually join Fairport illustrates the care that went into the band’s formation. Even the group’s name resonates — „Fotheringay“ was also one of Denny’s best-loved Fairport songs. Listening to the album, too, one can see and hear the mothership all over the show, from the tight dynamics of „The Sea“ to the simple beauty of „Winter Winds“ and on to the showpiece „Banks of the Nile,“ a Napoleonic Wars-era ballad set firmly in the storytelling mold of „A Sailor’s Life,“ „Tam Linn,“ and the post-Denny Fairport’s own „Bonnie Bunch of Roses.“ The presence of producer Joe Boyd and guest vocalist Linda Peters complete the sense of a family affair.

Where Fotheringay and Fairport drift apart is in the instrumentation — one of Fairport’s most-endearing talents, after all, was the sense of ramshackle adventure that the bandmembers brought to their recordings. Fotheringay was far more „musicianly,“ packing a perfectionism that comes close, in places, to stifling the sheer exuberance of the music. The overuse of Trevor Lucas‘ distinctly mannered vocals, too, reveals the album in a disappointing light — great guitarist though he was, his voice offers nothing that you could not hear in any amateur folk club, any night of the week, rendering Dylan’s „Too Much of Nothing,“ Gordon Lightfoot’s „The Way I Feel,“ and his own „Ballad of Ned Kelly“ little more than makeweights. Such failings are completely overshadowed, of course, by the triumphs that are Denny’s finest contributions — the best of which close the album on a peak unheard since „The Sea,“ back at the beginning of the cycle. „The Banks of the Nile“ rates among the loveliest and most evocative performances of her entire career, while the hauntingly hypnotic „Two Weeks Last Summer“ and a moody „Gypsy Davey“ draw out an expressiveness that had similarly been in short supply elsewhere on the record. The end result is an album that, while every Denny fan should hear it, is best experienced sliced and diced across the various compilations that purport to tell the story of Fairport Convention. Bereft of the faults that never make those collections, Fotheringay deserves every kind word that has ever been sent in the band’s direction. [In 2004, Fledg’ling records released a remastered edition that included live versions of „Two Weeks of Summer,“ „Nothing More,“ „Banks of the Nile“ and „Memphis Tennessee,“ recorded at the 1970 Rotterdam Pop Festival.]

About “Fotheringay”

This was Sandy Denny’s first composition as a member of Fairport Convention. The subject of the song is Mary, Queen of Scots. The song focusses on Mary’s imprisonment in Fotheringhay [sic] Castle following her conviction in 1586 for treason against her cousin, Elizabeth I of England.

The Perfect Surrounding

Fotheringay offers the perfect setting for a special getaway, ideal for a spring graduation or a fall football weekend.

In addition to the meticulously restored period interiors, grand public rooms, stately bedrooms this property is surrounded by acres of beautiful grounds. 

AllMusic Review by Richie Unterberger

In late 1970, Fotheringay began work on a second album. But after they had laid down basic tracks and guide vocals and were still very much in the middle of the process, Sandy Denny left the band to pursue a solo career, leaving this second record unreleased (though versions of two songs from the sessions, „Two Weeks Last Summer“ and „John the Gun,“ appeared on some Fotheringay/Denny reissues). In the 21st century, guitarist Jerry Donahue, with the help of the two other surviving members (bassist Pat Donaldson and drummer Gerry Conway), worked (according to this CD’s liner notes) „on underpinning the original tracks, carefully identifying and assembling the best parts of the 1970 recordings from master tapes which had been dispersed to a variety of locations over the years.“ This doesn’t quite spell out whether some modern overdubbing was undertaken, but however it was accomplished, it’s an attempt to reconstruct what might have been Fotheringay’s second LP. It’s a qualified success in that it does represent a conscientious attempt to finish an unfinished record, even though it can never be finished considering that these cuts have guide vocals (albeit ones that sound pretty good). Even given that limitation, however, it has to be said that this was never going to be a great record even had the time been taken to properly complete it. It’s solid early-’70s British folk-rock, but the material’s uneven, varying from the excellent (Denny’s „John the Gun“ and „Late November,“ as well as their Denny-sung interpretation of the traditional tune „Gypsy Davey“) to the rather humdrum (a Trevor Lucas-sung cover of Bob Dylan’s „I Don’t Believe You“ being a low point). And though forgiving fans might be reluctant to point out the elephant in the room, it’s plain that Denny’s singing and songwriting make the tracks on which those feature leagues above the relatively unexceptional ones written and/or sung by Lucas. Get this by all means to enjoy those pieces featuring Denny’s stellar singing, guide vocals or not, with sympathetic accompaniment (if not quite support on the level of Fairport Convention). Don’t, however, expect a lost masterpiece.

Product Information Today sees the release of a special live performance by Fotheringay that was recorded at Grugahalle in Essen, Germany, on 23rd October 1970. Fotheringay performed as part of a larg…

Dieses 40–Track umfassende 2CD-Set fängt Sandy auf intime Weise ein, die durch abgespeckte Versionen von Songs mit Strawbs, Fairport Convention, Fotheringay, The Bund und von ihren 4 Soloalben aufgezeigt …