When FL first came out, it was widely derided for an over-reliance on the services of high-priced American session players (in retrospect, kind of a dumb criticism) and a general sort of trying-to-be-Fleetwood Mac-or-something vibe. That's as may be, and on balance, it's hardly the Thompsons' best album, but it doesn't change the fact that this particular song is exquisite. Or that Richard's briefest of twelve-string solos (right before the last round of choruses) still absolutely kills me.
So there.
6 comments:
If the web is the Library at Alexandria in my pocket, then you, Steve, are the Librarian. Bravo!
No need to be defensive about liking this one. And the solo sparkles like a waterfall. (As a latecomer to the Richard Thompson party, I always appreciate being shown where the good stuff is hidden.)
Always liked this album. Like Faze, I was slightly late to the party myself and didn't realize, until today, that this was one of the Thompson's lesser efforts. I've always thought the title song was one of their most exquisite efforts.
Steve, who were some of the session players - anyone we would recognize?
this is a gorgeous song. the production is pretty restrained by 1970s standards, even if Lee Sklar and Russ Kunkel (my guess) or whoever is playing on it. At least it's not Don't You Write Her Off Like That. sounds like there's citern or bazouki behind the second verse which would be very Fairport. as far as the 12-string solo, what couldn't this guy do with a guitar, blending celtic and raga in one beautiful phrase. - AP
Willie Weeks and Andy Newmark were the rhythm section.
They were playing with every rich rock star at the time, and they're actually very good, but there was kind of a backlash against them, at least in critical circles.
Post a Comment