In memory of Judy Dyble

By Narendra Kusnur

Many associate the vocals of British folk-rock band Fairport Convention to the phenomenally talented Sandy Denny, who died prematurely after a freak staircase fall in 1978. However, the group’s ardent fans would also recognise the contribution of Judy Dyble, who fronted the self-titled debut album in 1968.

Dyble, who died on Sunday after a prolonged illness at the age of 71, was an immensely talented singer herself. Besides Fairport Convention, she sang for Giles Giles & Fripp who eventually formed the progressive rock group King Crimson, was part of the cult duo Trevor Horne and released many solo projects in the 2000s.

Denny went on to be recognised as a legend, but Dyble remained under-rated, nearly unknown. Some remembered her for her habit of knitting a sweater or scarf on stage when she wasn’t singing and a long instrumental solo was on. Though she left Fairport in a huff and Denny’s arrival initially shattered her self-confidence, she was reported to have huge admiration for her successor’s vocal talent.

In his tribute in loudersound.com, Sid Smith wrote, “Through her poems, lyrics and beloved autograph, she captured something quintessentially English, that was partly romantic, partly pastoral, and an ineffable quality that was suffused with a lightness of touch and a warm generosity of spirit.”

A sizeable section of recordings are available on the online platforms. We choose three albums from different phases of her career. Her style, as mentioned earlier, is rooted in British folk with a strong addition of rock flavours on some. There’s an equal mix of originals and cover versions, and of electric and acoustic material. This could be a basic introduction. If you like them, there’s lot more to listen to.

Fairport Convention/ Fairport Convention, Polydor, 1968

Rating: ****

The album seems more influenced by the Californian rock sound and psychedelia, showing traces of Jefferson Airplane. Dyble and Ian MacDonald share vocal credits and the former excels on a version of Joni Mitchell’s ‘Chelsea Morning’, with the latter singing Bob Dylan's ‘Jack Of Diamonds’.

Dyble also co-writes and sings ‘Portfolio’. On the 2003 reissue, a recording of MacDonald’s version of Leonard Cohen’s ‘Suzanne’ is used. The line-up also featured lead guitarist Richard Thomson, who was the band's anchor for years, acoustic guitarist Simon Nicol, bassist Ashley Hutchings and percussionist Martin Lamble. The folk flavour is enhanced with the autoharp, cello, violin and mandolin.

Morning Way/ Trader Horne, Sanctuary Records, 1970

Rating: ****

Here, Dyble teams up with singer Jackie McAuley. The album is more folk and less rock in comparison to the Fairport debut, and over The years, it has developed a cult following.

Stand-out cuts would include the title track, ‘Jenny May’ and the outstanding, almost epic ‘Growing Man’ whose lyrics bear a Dylan influence. Dyble sounds wonderful on a different take of the traditional ‘Down & Out Blues’, which Eric Clapton had also adapted. The album makes good use of autoharp, bass clarinet and alto flute to give it a rustic flavour.

Talking With Strangers/ Judy Dyble, FiXiT Records, 2009

Rating: **** 1/2

Dyble had been pretty active in the 2000s, even releasing her album ‘Earth Is Sleeping’ in 2018. The 2009 album ‘Talking With Strangers’ is a beauty, focusing on lush arrangements and clear vocals.

A highlight is the version of Emerson Lake & Palmer’s ‘C’est La Vie’, which has been beautifully sung. ‘Grey October Day’ and ‘Harpsong’ (which has a guest appearance by Robert Fripp of King Crimson) make good use of the saxophone, whereas ‘Jazzbirds’ uses the flute subtly.

After listening to this album, one really wishes Dyble had earned more fame. Unlike her work with the bands, her solo recordings reflect her abilities more closely. Maybe she wouldn't be another Denny, but she'd have definitely set her own benchmarks had she been more prolific.