Some context: Fairport Convention are a British folk rock band. Formed in 1967, they are widely regarded as a key group in the English folk rock movement. Their seminal album Liege & Lief is considered to have launched the British folk rock movement, which provided a distinctively English identity to rock music and helped awaken much wider interest in traditional music in general. The band have drawn heavily on the Child Ballads, songs of the British Isles from the later medieval period until the 19th century.
The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on.  In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.'  At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band.
what was so good about this album?
A: they turned to some of the most talented available in the contemporary folk scene.

Some context: Crane was born in Waterbury, Connecticut, and spent his childhood and teenaged years in Stamford. He began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He later joined his high school's marching and jazz bands and the orchestra. He played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program.
At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. He testified that Crane had called Carpenter the night before the murder and ended their friendship.  Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence, including witnesses from the restaurant where the two men had dined the evening prior to the murder, that Carpenter and Crane were still the best of friends. They noted that the murder weapon had never been identified or found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence--including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in compromising sexual positions with numerous women, implying that any one of them, fearing blackmail, might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the seduced women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.  Carpenter was acquitted. He continued to maintain his innocence until his death four years later, in 1998. After the trial, Robert Crane speculated publicly that Crane's widow, Patricia Olson, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, and left the entire estate to Olson. Robert Crane repeated his suspicions in a 2015 book. Maricopa County District Attorney Rick Romley, who prosecuted the case, responded, "We never characterized Patty as a suspect." He added, "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
How can we relate Bob with the Trial?
A:
My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. He testified that Crane had called Carpenter the night before the murder