Editing Fairport Convention (section)

====Developing British folk rock====
On 12 May 1969, on the way home from a gig at [[Birmingham]] venue [[Mothers (music venue)|Mothers]],<ref name="RTSL">{{cite episode |title=Richard Thompson: Solitary Life |url=http://www.bbc.co.uk/programmes/b0074nw0 |access-date=14 September 2012 |network=BBC |series=BBC Four}}</ref> Fairport's van crashed on the [[M1 motorway]]. [[Martin Lamble]], aged only nineteen, and Jeannie Franklyn, Richard Thompson's girlfriend, were killed. The rest of the band suffered injuries of varying severity.{{sfn|Sweers|2005|p=89}} They nearly decided to disband. 

However, they reconvened with [[Dave Mattacks]] taking over drumming duties and Dave Swarbrick, having made contribution to ''Unhalfbricking'', now joined as a full member. Boyd set the band up in a rented house in Farley Chamberlayne near [[Winchester]] in Hampshire, where they recuperated and worked on this integration, which would result in a new sound and style manifest on their fourth album ''[[Liege & Lief]]''.<ref name=":4">Hutchings, Ashley. ''Liege and Lief''. 2002, [[Island Records]] reissue, IMCD 291 / 596 929-2, [[liner notes]].</ref>

Usually considered the highpoint of the band's long career, ''Liege & Lief'' was a huge leap forward in concept and musicality. The album consisted of six traditional tracks and three original compositions in a similar style. The traditional tracks included two sustained epics: "[[Tam Lin]]", which was over seven minutes in length, and "[[Matty Groves]]", at over eight. There was a medley of four traditional tunes, arranged, and, like many of the tracks, enlivened, by Swarbrick's energetic fiddle playing. The first side was bracketed by original compositions "Come all ye" and "Farewell, Farewell", which, in addition to information on the inside of the gatefold cover on Hutchings' research, explaining English folk traditions, helped give the record the feel of a [[concept album]]. "Farewell, Farewell" and the final track "Crazy Man Michael", also saw the full emergence of the distinctive song writing talent of Thompson that was to characterize his contributions to the band and later solo career. The distinctive sound of the album came from the use of electric instruments and Mattacks' disciplined drumming with Swarbrick's fiddle accompaniment in a surprising and powerful combination of rock with the traditional. The entire band had reached new levels of musicality, with the fluid guitar playing of Thompson and the "ethereal" vocal of Denny particularly characteristic of the sound of the album. As the reviewer from [[AllMusic]] put it, the album was characterised by the "fusing [of] time-worn folk with electric instruments while honoring both".<ref>[{{AllMusic|class=album|id=r7059|pure_url=yes}} Allmusic retrieved on 14 January 2009].</ref>

A few British bands had earlier experimented with playing traditional English songs on electric instruments, (including [[Strawbs]] and [[Pentangle (band)|Pentangle]]), but Fairport Convention was the first English band to do this in a concerted and focused way.<ref>R. Unterberger, ''Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock'' (Backbeat Books, San Francisco, 2003), p. 157.</ref> Fairport Convention's achievement was not to invent folk rock, but to create a distinctly English branch of the genre, which would develop alongside, and interact with, American inspired music, but which can also be seen as a distinctively national reaction in opposition to it.{{sfn|Sweers|2005|p=4}} ''Liege & Lief'' was launched with a sell-out concert in London's [[Royal Festival Hall]] late in 1969. It reached number 17 in the UK album chart, where it spent fifteen weeks.<ref name=officialcharts>{{cite web |title=Fairport Convention &#124; full Official Chart History |url=https://www.officialcharts.com/artist/13725/fairport-convention/ |website=Official Charts Company |access-date=16 September 2019}}</ref>