2/20/2023 0 Comments Rufus eight miles high![]() ![]() Below West Point and south of Tibbee Creek was the Mayhew Prairie, which was named after the Mayhew Mission, which was located on its northern edge. He lived at its southern end, just southwest of Artesia. Between present day Artesia and the Golden Triangle Regional Airport lay Peter Pitchlynn’s Prairie, which was named after John’s son, Peter. Three miles across the Tombigbee River from Columbus was Pitchlynn’s Prairie, which centered around John Pitchlynn’s 1820s residence. too often.Prairies form the heart of the Golden Triangle Region. I suppose one of the ways to keep creating is to not look back. You never strike me as a particularly sentimental man. I was really depressed at the tenth anniversary, so 40 is just off the scale. It’s a bit like riding a bike, that album. It’ll be strange, but at the same time familiar. You’re reuniting with the 1969 line-up of Fairport Convention to play Liege And Lief at the Cropredy festival in August. I’ve known Rufus both as Loudon’s son and as Teddy’s friend. You recently worked with Rufus Wainwright, who said he was frightened of you because you were so “fiercely heterosexual”. They’re the best songs I’ve got at the moment. ![]() I have an acoustic pile, but this pile had grown sufficiently over the past couple of years. ![]() ![]() RICHARD THOMPSON: I kinda collect songs in piles. UNCUT: Why a fuller rock record this time? The Liege & Lief-era Fairports will reunite briefly this month, but Thompson – and only Thompson – doesn’t need to relive any past glories. When Thompson sings about pursuing a vision and “not looking for ghosts behind me,” it works as a metaphor for his own brilliant career, too. Thompson can still be tender, though, and the way “Take Care The Road You Choose” gracefully unravels, with the guitar teasing emotional verities out of a buttoned-up stoic, bears comparison with his best songs from the Richard & Linda era. “Out in the desert there’s a soldier lying dead/ Vultures pecking the eyes out of his head,” he hisses, with a stentorian ardour that’s oddly similar to Nick Cave. “Dad’s Gonna Kill Me” is a bitter stand-out, written from the perspective of a GI stationed in Iraq. But every time the honking saxes appear to gain the upper hand, Thompson hoves back into view, spitting out solos that have the bent vigour of Roger McGuinn on “Eight Miles High”.Ģ005’s lovely solo acoustic set, Front Parlour Ballads, saw him pondering British identity from his exile in LA.īut this one is a fiercer and less suburban record, predicated on conflict, both between countries and lovers. “Bad Monkey” may be jaunty, a Caledonian swing tune inhabited by the spirit of Lord Rockingham’s XI. If Neil Young is rock’s quintessential sloucher, then Thompson is his polar opposite, the uptight maestro, nerves as taut and tuned as his guitar strings. These remain, ostensibly, rock songs underpinned by the cadences of folk, delivered by a stern and occasionally rather wry man who plays guitar with a fearsome penetrative clarity. Save “Francesca”, a stiff nod to reggae, Thompson hasn’t radically altered his style. Sweet Warrior is roughly his 16th solo album, and he sounds more like a loner – intense, precise, impervious to fashion – than ever. But while most of his bandmates soon decided that frothing tankards and stout yeomanry could fill a career, Thompson embarked on a more bloody-minded artistic journey. Three years later, Thompson had left the band. On May 27, 1967, Fairport Convention played their first gig in a Golders Green church hall, with Thompson – a gangling, diffident 18-year-old – on lead guitar. Nevertheless, even he must be secretly moved by the fact that this summer marks his fortieth year in music. Richard Thompson is not, he admits, a sentimental man. ![]()
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