It was also where he came to the attention of local folk guitarist Ralph McTell and former Campbell Group and future Fairport Convention member Dave Swarbrick.

[4] One week after seeing Fairport for the first time on his twenty-first birthday he was called by Swarbrick to audition for the band after the departure of Ashley Hutchings, who was soon to found Steeleye Span.

[3] Pegg joined Fairport Convention towards the end of 1969 and formed a strong playing partnership with drummer Dave Mattacks and good relationships with the other members.

[9] Some of these performers, like Sandy Denny and her husband Trevor Lucas, were acknowledged songwriters and as a result, although he still made contributions and took part in collaborations, Pegg's song-writing took a back seat to his instrumental and organisational skills.

[10] After the financial disaster that followed the Rising for the Moon (1975) tour, which prompted Denny, Lucas and Jerry Donahue to quit the band, Pegg became increasingly determined for the group to take control of their finances and direction and took over a larger responsibility.

[2] Pegg and Swarbrick renewed contact with Nicol in 1975 forming a low key trio, Three Desperate Mortgages, which toured student venues across Britain.

[11][12] With only Pegg, Swarbrick and replacement drummer Bruce Rowland left, they persuaded Nicol to rejoin the band during the Gottle O'Geer album sessions.

[13] With Swarbrick suffering acute hearing problems and with no recording contract the group decided to disband and played a final concert at Cropredy in Oxfordshire on 4 August 1979, close to where Pegg lived.

Among them were: Nick Drake's Bryter Layter (1970); John Martyn's Solid Air (1973) and One World (1977), as well as work for current and ex-Fairporters, including several albums for Dave Swarbrick, on Sandy Denny's Like an Old Fashioned Waltz (1973) and Rendezvous (1977) and Richard Thompson's Pour Down Like Silver (1975).

Although Fairport had disbanded they continued to play annual reunions at Cropredy, supplemented by New Year's gigs in minor locations and occasional larger European festivals.

The Peggs established a mailing list of fans of the band, keeping interest in Fairport alive and, particularly Christine, took over the organization of the Cropredy Festival, which grew in size every year to reach about 18,000 attendees by the mid-1980s.

The next album, Broadsword and the Beast (1982) had a heavier sound and more medieval theme and Pegg joined the band on stage in pseudo-medieval costume beside a Viking ship.

[19] In the 1980s he also appeared on several recordings by other folk artists, including Murray Head and Dick Gaughan, besides those by Fairport and ex-Fairport members Simon Nicol and Richard Thompson.

In 1985 Pegg, Nicol and Mattacks were also free and the trio decided to make an album of new material for the band to play at the Cropredy Festival, using the Woodworm studio and label.

The result was Gladys' Leap (1985), which was generally well received in the music and national press, but caused some tension with Swarbrick who refused to play any of the new material at the 1985 Cropredy Festival.

A Box of Pegg's contained four CDs, summarizing his work with Fairport Convention, Crawdaddy, Richard Thompson, Mike Heron, Steve Ashley, Jethro Tull, The Ian Campbell Folk Group and others.