Fotheringay
Fotheringay

THE REVIEW

Some consider it the first and only album by Fotheringay, others see it as the first solo album by the extraordinary, restless, and unique artist Sandy Denny. I don't think such a discussion is important, especially in front of a work of this caliber.
It's 1970, and the experience with Fairport Convention begins to "stifle" the strong personality of Sandy Denny, and together with her partner, Australian Trevor Lucas, she gives life to this brief but intense experience. They are joined by musicians from Fairport and beyond. The name, evidently, also marks a connection to the previous group, since "Fotheringay" is the title of a song (a gem of just over 2 minutes) by Fairport Convention.
The album opens with a track destined to become one of the classics of Sandy Denny's repertoire - who is the author of most of the album's pieces - namely "Nothing More". An elegant piece, the voice, full of pathos, is splendid, the arrangement simple but effective is perfect: the album couldn't have opened in a better way. The second track is "The Sea", also by Sandy Denny, very delicate, it would have been at home on albums like Nick Drake's "Bryter Layter", for its sound, melody, and class. With the third track "The Ballad of Ned Kelly", by Lucas, the atmosphere becomes more classically folk, the electric guitars very country, Lucas’s voice, and the "choral" refrain make the track enjoyable and "typical" of the genre. But Sandy Denny takes us back into the magic of her compositions, with the very delicate and poignant "Winter Winds", a small masterpiece of simplicity. Following is "Peace in The End", by Lucas-Denny, a folk ballad, rich in choruses and with beautiful vocal interludes.
Then comes "The Way I Fill", a triumph of guitars, where the exquisite technique and class of Jerry Donahue emerge prominently. But it's not just a "guitar-centric" piece at all. As always, the interplay among the musicians is excellent, and the dynamics are remarkable. A great piece.
Sandy Denny returns as author and vocalist in "The Pond and The Stream", a track that encapsulates all the characteristics of the "Denny style" namely delicate and elegant melodies, never intrusive arrangements, wonderful voice. The tribute to Dylan (a Fairport habit) is found in the cover of "Too Much of Nothing", sung by Lucas.
The album closes with two traditional pieces, the moving "Banks of The Nile" and "Gypsy Davey", which are among the best moments of an exceptional record.
To call it a folk or folk-revival album is wrong as well as reductive, it is a masterpiece that goes far beyond labels.
In her career (tragically ended in '78 at just 31 years old), Sandy Denny gave us many gems, and this is certainly one of them.