2

I heard about this project very early in the year, {it was leaked from a well known British Folk Rock band's website.} And, as it was known in the history books that production of the second Fotheringay record was in it's earliest stages when Sandy Denny decided to leave her bandmates for a proper solo career, I had no idea of what form {finished or unfinished} these songs, would be in.

With so much work done in many studios by guitarist/producer Jerry Donahue, I cannot find fault in his labor in getting such high quality instumental backing that really invokes the real Fotheringay sound from this. The problem here, is that the two main singers of this band, Sandy Denny and Trevor Lucas recorded: "guide vocals" and never returned to finish and complete their work on this.

Sandy, for my dollar is about the greatest English female vocalist of her day, and her singing is all about the emotion that she infuses into her words. The sad refrains that come forth in so many of her songs are so very far beyond almost any other singer that I have heard. Ms. Denny, uses her amazing instrument to full capacity on many Fairport Convention, Fotheringay and solo tunes, and she is untouchable as a talent when she does so.

Fotheringay 2, is not Sandy's or Trevor's best piece of recorded work, and it should not be reviewed as such. With the exception of: "Wild Mountain Thyme" and "Bold Jack Donahue", I have heard all of this music in various versions as done by Trevor, Fairport Convention and Sandy. And there is good to report here, "Knights of the Road" is much better than Fairport's later recorded take as there is so much more life in the music presented here. This version of: "John the Gun" is the best that I have heard it performed. The saxophone sounds fine to me, this is not folk music, but not everything that this band had recorded prior to this was folk music as well.

The problem here is quite evident on listening to: "Wild Mountain Thyme" the famous Scottish ballad of the ages. Sandy, is reading this, and she is learning it, she is not singing it yet, she is still very tentative with these words at this point. This song could have been the highlight of the second record, had Sandy been able to sing this song using all her powers, but this first run-through does not present that Sandy, this vocal was never meant as an completed take, but alas...here it is.

If you could hear any of the numerous live versions of: "Silver Threads & Gold Needles", that Sandy and Fairport performed in concert, this version would be blown right out of the water. "Late November". "Two Weeks Last Summer" and "I Don't Believe You" already exist is far superior versions than these rough takes.

Fotheringay 2, could have been a big record for this band, Sandy and Trevor, might have seen their careers rise up to match their talents. As we will never see the record that the band intended to release in 1971, we have this document of this project, in this fashion as: "baby steps."


I am glad to see this work released in ANY form, and I realize that this will never be considered a popular piece of music today. But, let's not let our love for Sandy, get in the way of good judgement here. This is not a: five-star recording, but it is an newly discovered work from a band that had a legend within it's ranks. Sandy Denny, had greatness, but this is not as she intended her music to be presented.

Thank you, Jerry for all your hard work, the music is beautiful. If this band had been able to complete this work, you can only imagine just how great this record could have been!
3.5 stars

Yes, it's been a long time coming, and I am grateful. I can now stop imagining this record based solely on scrappy BBC bootlegs made during these sessions.

I can't help feeling, however, that a more pristine version will be released over time. With only some understanding of the source material Mr. Donahue had to work with (mostly only demonstrative vocals were recorded, for instance), I cannot judge too harshly. However there seems to be some uneven splicing and a "canned" feel, especially to some of the vocals, unnecessary in today's era of digital wizardry.

There are some odd aspects of the album (I understand the historic aspect of the sax on "John the Gun," but agree with another reviewer that it sticks out like a sore thumb). I differ with the choice in sequencing, though the beauty of digital music is that it can be shuffled into any order one chooses, which I have done with this album for a greatly preferred "flow". I also have to wonder if some of these songs actually would have been included on a final cut. Of course this is conjecture and perhaps I have simply heard the overly limpid "Two Weeks Last Summer" too many times to give it credit here.

I'll end on a top note, though - this is one of Sandy's last workings of traditional songs and in this she excels. The instruments - the playing of the songs themselves - prove to be an intense and beautiful experience. Though never a big fan of Trevor Lucas, I find his tracks "Eppie Moray" and "Bold Jack Donahue" to be two of the best songs from Fotheringay. If Sandy rose to new heights with her reading of "Banks of the Nile" during the first Fotheringay sessions, Trevor has done the same for "Bold Jack Donahue" here. I look forward to the last few session tracks - an instrumental and Sandy's "Lowlands of Holland" - seeing the light of day at some point as well.

Not for a first-time listener, this album is a refreshing - I might say essential - addition to the British Folk Rock legacy. Now I'm going to go listen to "Liege and Lief" for the thousandth time.

It took thirty-eight years, but the second album by Fotheringay, the short-live English folk-rock supergroup, is now at-hand. The band, created by ex-Fairport Convention vocalist Sandy Denny and her soon-to-be husband, Australian Trevor Lucas (ex-Eclection)were to take the new sound of British folk-rock away from primarily traditional songs into self-penned folk-styled compositions with the help of capable sidemen such as Jerry Donahue (guitar, producer of this new disc), Gerry Conway (drums), and Pat Donaldson (bass). Strains within the group almost from the start meant that the group was destined to disintegrate after a brief existence. The first album was critically acclaimed, but sold poorly, and concert performances were often ragged and seemingly disorganized. Despite having sufficient material in the can to create a second album, the group splintered and the record remained offically unissued...until now.

Bootlegs of various tracks showed an album of considerable promise, and even the widely traded BBC recordings by the band showed material that was of interest to fans of the growing British folk-rock scene. Still, it took great persistence by Jerry Donahue--starting many years ago--to assemble the leftover rough surviving session recordings by the band and turn them into a marketable product, now a lasting tribute to both the late Sandy and Trevor. The result is a fine companion to the first Fotheringay album with classic cuts such as "Gypsy Davey" and "Late November" (the latter re-recorded several times by Sandy for solo release). If there is a complaint is may be the well-intentioned, but somewhat inappropriate use of a saxophone on tracks such as "John The Gun" which had also been re-recorded several times by Sandy and (after her return) Fairport Convention. The solo instrument of choice in the 1970s was the fiddle (the sax made its way into the line-up with performers such as Richard Thompson and the Albion Band) and here Jerry should have considered employing veteran fiddlers such as Ric Sanders (of Fairport Convention) or even the venerable Dave Swarbrick to overdub a suitable fiddle accompaniment, in keeping with the original spirit of the times.

Having said that, however, the fact remains that this is yet another piece of the great puzzle of what was Sixties and Seventies British folk-rock that has been restored and made available to those who are still enthralled by the sound that was one of the most inspiring and haunting to have ever graced the airwaves and records players of the world.

I'm giving this album 4 stars, mainly due to the unavailability of the singers to put down their 'real' vocal tracks (which is scarcely anyone's fault after all), and the unfinished nature of the project. This is not really the album that would have come out in 1971, but it's still a treat to have it, and the work that went into it is greatly appreciated.

I purchased this CD with a mix of curiosity, hope and anticipation. I have been a serious Sandy Denny fan for nearly 20 years now and I own a version of the first Fotheringay disc that included 2 numbers on this 'new' album. Both of those, Gypsy Davey and Two Weeks Last Summer, have been revamped to some extent - especially Two Weeks Last Summer, which I actually preferred in the earlier release. But, they are both very good tracks. My liking of Two Weeks Last Summer may be influenced by having heard the Strawbs version that Sandy sang in 1968, which was recorded at a much faster tempo. And Gypsy Davey just rocks. As for other tracks, John The Gun shows up in a fascinating version with sax, and with a certain grit I never heard in other versions. Wild Mountain Thyme is sublime. I have never had much of a taste for Trevor's material (although his voice is undeniably strong and well-suited for harmonies with Sandy), but I really like Eppy Moray. Even the Dylan song he did came out sounding pretty good, although it bothers me to see a Dylan track on an album that contains only 2 of Sandy's songs, both of which have already come out and are classics in Sandy's repertoire. I don't think much of Knights of the Road. In general, I think Trevor Lucas was very talented, but I think I would have liked him better if he had his own separate group for his own musings, and was part of Fotheringay more as a supportive element rather than an equal to Sandy. If he had 2 songs per album, that probably would have been best. That's my one and only criticism for this group.

I'm glad to have made the purchase - it was inevitable. But, I would not send any new fan of Sandy's to this disc. This would be the one to buy after owning the first Fotheringay, and probably the 3 Fairport albums released in 1969, and also Sandy's first 3 solo albums and her Gold Dust Live CD. However, for any serious Sandy fan, this is one you will eventually want to own. I'd put it in a league with her last solo album Rendevous - perhaps not her best work, but enough moments to warrant a purchase and occasional listen.

I should also make a note of the other musicians. Jerry Donahue's guitar playing is so perfect for this group that I could barely consider a different guitarist in his role. I'm glad he continued to work with Sandy to some degree after Fotheringay split, his style is well-defined, original, under-rated and very well suited to Sandy's material. Gerry Conway's drumming also deserve superlative mention, his playing was so creative and what he was doing was exactly what was needed and called for, he could well be considered the perfect folk-rock drummer. I would kill to have a drummer like that in my band. Pat Donaldson's presence is seamless. The high regard for this band among those who know of it is well-deserved; this was an incredible, complimentary group of musicians with good ears, and all the pieces integrated beautifully to a level that most bands can only aspire.

I can't tell you how much I wish, even with Trevor as a major creative force in the group, that this band had continued on for a few years - it seems like they were only just beginning when they ended, and I am certain they would have made several fine albums that would have been better than this. BUT, having said that, I am so grateful to Jerry Donahue for his efforts in seeing this project through to completion and releasing it. Anything 'new' in regard to Sandy Denny is both rare and welcome, and that's putting both mildly.

I was disappointed with Fotheringay (see my review for the reasons); I bought 'Fotheringay 2' half expecting more of the same but, at the same time, I was hoping that there would be a few 'hidden gems' to justify my purchase. This album turns out to be something of a mixed bag for me - with music ranging from the exquisitely sublime to the pleasantly bland (and, at times, the rather boring).

Lead vocals are about evenly shared between Sandy Denny and Trevor Lucas. Sandy's vocals are good (I thought a little subdued), but not up to the exceptionally high standard to be found on 'Liege and Lief' or with 'Banks of the Nile'. Trevor's vocals are erratic - occasionally surprisingly good, but often downright monotonous. The album includes two songs written by Sandy Denny and two by Trevor Lucas/Peter Roche; there are four 'trad. arrs.' also. Tempos are mainly slow to medium and a few songs have a distinct country flavour. The musicians continue to play well and a number of fluent electric guitar solos are featured - the basic line-up is augmented by Sam Donahue (saxophone on 'John the Gun') and John Bundrick (organ on 'I Don't Believe You').

These are the tracks that appealed most to me :

JOHN THE GUN (Sandy Denny) - A slow tempo song with a slight edge to it - not especially strong on melody, but Sandy's lead vocals are are well up to her usual high standard. The track features a virtuoso electric guitar solo from Jerry Donahue, and an interesting sax solo with a 'jazzy-prog-rock' feel to it.

EPPIE MORAY (trad. arr. Fotheringay) - One of the few fairly up-tempo songs, with lead vocals by Trevor and Sandy. Trevor takes the lion's share of the vocals, and he gives a lively (and very credible) performance as he wraps his aussie larynx around the words of this traditional Scottish song. The playing is outstanding - especially electric bass, drums and harmonium (Sandy).

WILD MOUNTAIN THYME (trad. arr. Fotheringay) - A beautiful song (aka 'Purple Heather' and 'Blooming Heather') which was just made for Sandy's vocal style - and she doesn't let us down either. She is well supported with some non-intrusive backing vocals (Pat Donaldson) and tasteful playing by the band.

GYPSY DAVEY (trad. arr. Fotheringay) - A slow tempo atmospheric song. Fine vocals from Sandy and some eerie sounds coming from the band. Rhythmically intoxicating - keep an ear out for the bass harmonics.

SILVER THREADS AND GOLDEN NEEDLES (Jack Rhodes/Dick Reynolds) - A classic country song performed as a slow waltz. Although I usually prefer Sandy's voice when she injects a slight edge or brogue, her smooth and unforced style here is a real delight. Also, there are some super close harmony vocals from a lady with the imposing name of Wendy Righart Van Gelder (a Dutch 'folk-rocker', I think).

I think the remaining songs are unexceptional, and I will probably never listen to them again.


As an exponent of traditional British folk/folk-rock music, Sandy Denny is second to none (even outshining the likes of Maddy Prior and Jacqui McShee). Even though she is not 'at the top of her game' on this album, her vocals are consistently good - if you don't already have it, get 'Liege and Lief' by Fairport Convention to hear her at her zenith. Even to this day, she remains one of the most charismatic and well loved of British female singers - she is sadly missed; I think it is only fitting that her legacy should be acknowledged at every opportunity.

However, tributes aside, I find both Fotheringay albums to be ones of sharp contrasts : fine vocals from Sandy Denny, but this is not often the case with Trevor Lucas; an uneven selection of songs, with those written by Sandy and Trevor to be amongst the distinctly weaker ones; and, throughout the two albums, first rate playing from the band. If you liked (or even half-liked) 'Fotheringay', then there's a good chance you will like (or half-like) 'Fotheringay 2' also; 3.5 stars.