+MERCH - SONGBOOK Description — Richard Thompson
Meet on the Ledge by Richard Thompson Played live with a capo on 2nd fret so G Or finding better words C G D These ideas never lasted long D Em The way . Meet on the Ledge Fairport Convention Chords and Lyrics for Guitar. "Meet on the Ledge" is a song by British folk rock band Fairport Convention. .. [1 ] The lyrics are by Dave Swarbrick and Richard Thompson When the stone is grown is strummed without fretting any of the strings, a D major chord is sounded.
For what it's worth, when I recorded Crazy Man Michael I also made a clip of the lead line on it's own, without the chord changes. I chose the other clip in the end, but when I listened to it again yesterday I thought it's quite nice this way, too.
So, for comparison, here is the lead on its own. Another clip done at the same time on the Kentucky is Richard Thompson's version of the Scottish waltz "Do It For My Sake" already posted here on reso tenor and acoustic mando. From Thompson's all-instrumental album "Strict Tempo". Martin Martin Jonas - May, 7: The direct Youtube link is here.
I've also recorded another Fairport tune today, this time one written after Dave Swarbrick had already left the band, by his successor, current Fairport fiddler Ric Sanders. The tune is called "Portmeirion", and was originally released on Fairport's all-instrumental album "Expletive Delighted". My version is based on the notes in the Fairport Convention Songbook Vol. Sorry, no notes as the songbook is copyrighted, but the tune is not difficult.
Ric usually uses it to play around with various echo, reverb and spatial sound effect, so I thought this gives me a good excuse to have a go at some "cave" reverb from a Line 6 Verbzilla pedal. Check out the slick pedal action to kick the effect in! Martin Martin Jonas - Aug, 6: It's on Fairport's excellent but often overlooked album "Nine".
Meet on the Ledge
Learned from the copyrighted Fairport Songbook Vol. I play this on my Mid-Missouri M-0W, a bit faster than Fairport's version -- I tried it at Fairport's speed but couldn't make it work on solo mandolin that way. Martin Martin Jonas - Dec, 7: InSwarbrick wrote "The Lemon Tree" as a companion piece. It is named after a lemon tree in the garden of Trevor Lucas' house in Sydney and written as a tribute to Trevor after his sudden and premature death that year.
Lift The Lid And Listen: This charming waltz was the title track of Dave Swarbrick's album of the same name, and the only tune on the album that he wrote. It is meant to invoke the feeling of a music box playing, and to reinforce this, it is played on the studio recording as a duet of Swarbrick on mandolin with Savourna Stevenson on clarsach Gaelic harp. I play it on my Gibson Ajr -- which is a good stand-in for Swarb's own Gibson mandolin, a late-teens A model.
However, for multitracked audio, the free Audacity software is wonderful, especially as recent versions have finally overcome the problems that earlier ones had with aligning overdubs. I've recorded three tunes this weekend, all on the Ajr, with tenor guitar rhythm. One is a German tune Es war ein Koenig in Thulewhich I've posted in its own thread, and the other two are both Fairport Convention tracks, co-written by Dave Swarbrick and Richard Thompson, and both of them now widely sung by people who don't know who Fairport Convention are, and therefore widely and wrongly credited as traditional.
The first is Crazy Man Michael, again. I had it earlier on solo electric mandolin, but here is an all-acoustic multitrack version -- played pretty much as it appears in the Dave Swarbrick tunebook. Amazing what difference a steady rhythm track makes! The second one is the seasonally appropriate "Now Be Thankful", now often played as a hymn, or as a Christmas carol I'll also post it, with lyrics, in the Christmas tunes thread.
Over the following three or four years, the band, which also came to include the fabulous singer Sandy Denny and the pact-with-the-devil fiddle player Dave Swarbrick, invented their own genre, moving away from American influences and attempting to reconnect with indigenous jigs and airs.
He remains devoted to the philosophy of that project, which has informed both his playing and his prodigious songwriting. Sometimes, as a culture, we pay more attention to imported styles. That was certainly the case in the last century, starting with minstrel music and ragtime and then jazz.
All the romance and the mythology was coming from overseas. We wondered if there might be a way of reversing that a bit As a songwriter, Thompson has tended to explore the force of the statement that happiness is the least interesting of all human states. His doom-drenched epic "Meet on the Ledge", written intended to set the tone not only of the decade's end but also of his subsequent writing a darkness which seemed to deepen after he survived a car crash on the way home from a Fairport gig, in which his then girlfriend, Jeannie Franklyn, and the band's drummer, Martin Lamble, were killed.
Meet On The Ledge
Just having to deal with death and losing friends was a difficult thing. But even before that I just put down what I felt. And who wants to be thought of as fluffy?
To the feelings that the audience doesn't know it has yet But then I stopped drinking in I saw a fork in the road and I thought, 'I'm not going down that one. He left Fairport and struck out on his own. There were one or two false starts. Thompson's first solo album, Henry the Human Fly, featured Thompson on the sleeve in a somewhat unnerving homemade fly costume. It was not a commercial success. It was only when he joined forces with the singer Linda Peters, who became his wife, that Thompson began to develop the full range of his lyricism.
Some of that insight derived from a newfound spiritual direction. Thompson was raised a Presbyterian and though that never made any sense to him it did not stop him, in the spirit of his times, looking for answers. In all that, I thought the Sufis [the "mystical poets" of Islam] had the right balance and the right connection. And at exactly the moment I arrived at that thought I saw there was a Sufi meeting two minutes from our house in Hampstead, at a church hall in Belsize Park.
So I went down there and I'm looking round this circle of invocation and I realised I knew four of them, all musicians I had done session work with. And then there were all these gorgeous women and great food. So it seemed right Thompson's album Pour Down Like Silver features a photograph of him in a turban, his eyes alight with the zeal of the convert. He thinks for a moment. I wanted to say thanks for life and creation for being here and I didn't know how to do it.
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Some people deal with it by expanding their ego. But in the past, musicians had gone through the tradesman's entrance of the castle and got fed the scraps from the kitchen; it's only our culture that has elevated musicians to heights and I wasn't sure then, and I'm not sure now, that it's a healthy thing.
I wanted to be a bit humbler about who I was. The intimations of that breakdown seemed to be contained in the songs he wrote in for what became his final — and best — album with Linda, Shoot Out the Lights. By the time the album came out, Thompson had met his current wife Nancy Covey and Linda had given birth to their third child. Even though they were separating, Linda insisted on embarking on an infamous tour with her husband in which she sang songs that appeared to unpack his depression about their relationship.
By some accounts, Linda would sometimes take out her rage with Richard on stage it became known as the "kick in the shins" tour. Listening to some of that record now, lyrics like: Is that how he hears those songs?
Thompson flinches a bit when I suggest this. Sometimes songs I wrote for myself to sing, Linda ended up singing. Thing is, if I sing those songs now they don't take me back to that time.
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I sing those songs a lot, I've sung them 2, times. I think of other things He is not always shown in a favourable light And the question you have to ask is: Is it a good, honest song? If it is, then fine. I've talked to Linda about this. At some point, the specific circumstances of its writing become diffuse and it stands on its own. That is what songs are — little capsules of emotion. Divorce was hard and horrible and gruesome on the kids. The day after I visit, they are off to celebrate their 25th wedding anniversary in Big Sur.
Their son, a guitarist, is Thompson never intended to come to America; he seemed so rooted, and not only musically, at home.