Like their peers The Byrds, Buffalo Springfield and Jefferson Airplane they were blessed with several considerable individual talents and produced music that -at least initially- was eclectic, as well as exploratory. This side of the band may best be heard on Heyday, a collection of tracks broadcast by the BBC. The move to a more British form of folk rock came primarily as a result of the enthusiasm of bassist Ashley Hutchings and producer Joe Boyd. Original singer Judy Dyble was replaced on their second LP What We Did On Our Holidays by Sandy Denny, an experienced folk singer and excellent composer in her own right. Fiddle virtuoso Dave Swarbrick joined, initially as sessioneer, on their third, Unhalfbricking. That LP has arguably their first two bona fide masterpieces. One is their version of the Sandy Denny song, Who Knows Where the Time Goes, popularized by Judy Collins, but characterised on their version by a perfect balance between Denny's vocals and the exquisite support of the group as a whole, and lead guitarist Richard Thompson in particular. The other is A Sailor's Life, the first to demonstrate the potential power of folk rock, the song exploding in an improvised and sophisticated instrumental coda that reaches beyond the words through the impassioned interplay of the whole band, led by the virtuosity of Thompson and Swarbrick in particular. Thompson also soon showed that he could create his own distinctive songs, notably the anthemic Meet on the Ledge, on Holidays.
The following LP Liege and Lief is perhaps Fairport's finest hour. Liege and Lief is generally remembered for its virtuoso versions of traditional folk songs but it also contains beautiful originals by Thompson and Denny. However the next, Full House -deliberately rockier in tone- has its particular gems, most notably Sloth, for its extended guitar/ fiddle duel and Poor Will and the Jolly Hangman, a perfect expression of Thompson's mordant humour; along with the sleeve notes, surely amongst the strangest and funniest ever.
The band continued with a series of personnel changes and albums, all with at least some high points, until it was temporarily disbanded in 1979, but played annual reunion concerts until it reformed in 1985. Since then, it has enjoyed stability and continues to tour and record regularly.
In part, the continuing success of Fairport Convention is due to the annual music festival it organizes. Cropredy Festival has been held every year since 1974 near Cropredy, a village five miles north of Banbury, Oxfordshire and can attract upwards of 20,000 fans.
In 2002 the band was given a Lifetime Achievement Award at the BBC Radio 2 Folk Awards. In 2006 Radio 2 listeners voted their 1969 album Liege & Lief as the Most Influential Folk Album of All Time. A mass reunion of living Fairport members performed at the ceremony.
No Man
Fairport Convention Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hey, come and make it black
It's no use to be free
If lies are all the truth they see
They'll screw up what you do
When you're through
Hey, come and make it easy
If you need a friend
And you need a way to loose the end
You know a place for you
When you're through
Hey, come and make it easy
Hey, come and make it black
It's no use to be free
If lies are all the truth they see
They'll screw up what you do
When you're through
The song No Man's Land by Fairport Convention begins with a plea to "come and make it easy" and "come and make it black". The repetition of these lines is consistent throughout the song, creating a sense of urgency in the plea. The lyrics suggest a desire for simplicity and clarity, for the singer to be freed from the complications that surround them.
The second half of the first stanza suggests that being "free" is of no use if the truth is obscured by lies. The allusion to the "end" implies that the singer is looking for a way to escape from a difficult situation. In the second stanza, the singer offers a solution - the singer knows a "place for you" where one can find friendship and solace at the end of their journey. The final stanza repeats the plea to "come and make it easy" and "come and make it black", underscoring the need for simplicity and clarity.
The song's message can be interpreted in a number of ways, but it is ultimately a call for freedom from the chaos and noise of life. The pleading tone of the lyrics suggests that the singer is tired of dealing with the complications of the world and is looking for an escape. By calling for simplicity and clarity, the lyrics reflect a desire for a more straightforward and honest existence.
Line by Line Meaning
Hey, come and make it easy
Join us and take the easy way out, with no need to struggle or fight.
Hey, come and make it black
Embrace the darkness and negativity that surrounds you, rather than trying to fight it.
It's no use to be free
Having freedom and independence is pointless if you are surrounded by lies and deceit.
If lies are all the truth they see
When lies and misinformation are all that is present, it becomes difficult to see the truth.
They'll screw up what you do
The deceitful ones will undermine and destroy any positive action you attempt to take.
When you're through
Once you have completed your task or goal, the impact of deceit and negativity will have taken its toll.
If you need a friend
When times are tough and it feels like you have nowhere to turn, a friend can be a valuable support system.
And you need a way to loose the end
When everything feels like it is falling apart, it is important to find a way to regain control and move forward.
You know a place for you
There is a place for you in this community, where you will be accepted and supported.
Lyrics © BMG Rights Management
Written by: Richard John (Gb1) Thompson
Lyrics Licensed & Provided by LyricFind
@philhughes4672
Now available in the New Seekers Boxed set 1970-1973, Lyn Paul at her very best!
@stevebrown4959
Thanks it's great to hear this again - especially Lyn Paul's vocal!
@iamnotmadeofrubber
sorry to ask, but where did you obtain this from? i've been looking for this forever!
@marlajomac
What an awful version of a wonderful song by Richard Thompson