Like their peers The Byrds, Buffalo Springfield and Jefferson Airplane they were blessed with several considerable individual talents and produced music that -at least initially- was eclectic, as well as exploratory. This side of the band may best be heard on Heyday, a collection of tracks broadcast by the BBC. The move to a more British form of folk rock came primarily as a result of the enthusiasm of bassist Ashley Hutchings and producer Joe Boyd. Original singer Judy Dyble was replaced on their second LP What We Did On Our Holidays by Sandy Denny, an experienced folk singer and excellent composer in her own right. Fiddle virtuoso Dave Swarbrick joined, initially as sessioneer, on their third, Unhalfbricking. That LP has arguably their first two bona fide masterpieces. One is their version of the Sandy Denny song, Who Knows Where the Time Goes, popularized by Judy Collins, but characterised on their version by a perfect balance between Denny's vocals and the exquisite support of the group as a whole, and lead guitarist Richard Thompson in particular. The other is A Sailor's Life, the first to demonstrate the potential power of folk rock, the song exploding in an improvised and sophisticated instrumental coda that reaches beyond the words through the impassioned interplay of the whole band, led by the virtuosity of Thompson and Swarbrick in particular. Thompson also soon showed that he could create his own distinctive songs, notably the anthemic Meet on the Ledge, on Holidays.
The following LP Liege and Lief is perhaps Fairport's finest hour. Liege and Lief is generally remembered for its virtuoso versions of traditional folk songs but it also contains beautiful originals by Thompson and Denny. However the next, Full House -deliberately rockier in tone- has its particular gems, most notably Sloth, for its extended guitar/ fiddle duel and Poor Will and the Jolly Hangman, a perfect expression of Thompson's mordant humour; along with the sleeve notes, surely amongst the strangest and funniest ever.
The band continued with a series of personnel changes and albums, all with at least some high points, until it was temporarily disbanded in 1979, but played annual reunion concerts until it reformed in 1985. Since then, it has enjoyed stability and continues to tour and record regularly.
In part, the continuing success of Fairport Convention is due to the annual music festival it organizes. Cropredy Festival has been held every year since 1974 near Cropredy, a village five miles north of Banbury, Oxfordshire and can attract upwards of 20,000 fans.
In 2002 the band was given a Lifetime Achievement Award at the BBC Radio 2 Folk Awards. In 2006 Radio 2 listeners voted their 1969 album Liege & Lief as the Most Influential Folk Album of All Time. A mass reunion of living Fairport members performed at the ceremony.
Cajun Woman
Fairport Convention Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In the window with his finger
In the undertaker's wing
Chorus:
Oh, Cajun Woman
Some people still call you a queen
I don't believe you're sinking
He grew up in the Bayou
With a Bible around his neck
He never loved a woman
In the way you would expect
(Chorus)
Don't tell him about his father,
Don't tell him about his name
The Gods won't get to heaven
Till they'll crucify his brain
(Chorus)
Well, it's welcome to the graveyard
And welcome to the throne
Welcome to the orphanage
Where your family sit and moan
Welcome to the liquor stand
And welcome to the poor
Your mama never told you how lucky you are
(Chorus)
The lyrics to Fairport Convention's song "Cajun Woman" are rich in symbolism and vivid imagery. The song speaks of a woman who has faced numerous challenges in her life, and yet remains resilient in the face of adversity. The first verse speaks of a preacher who gives her "spring," which suggests that he has brought her some sort of renewal or rebirth. This is emphasized by the fact that the preacher is pointing at a window, which could represent a new perspective or outlook on life. The reference to the undertaker's wing is a reminder of death and mortality, which may suggest that the woman has faced significant loss or tragedy.
The chorus speaks to the woman's reputation as a queen, and while some may judge her harshly, the singer does not believe that she deserves to be "sinking." This may suggest that the woman has faced criticism or ostracism from society, but the singer recognizes her strength and resilience. The second verse speaks of a man who grew up in the Bayou with a Bible around his neck, but who never loved a woman in a typical way. This could suggest that the man is a religious figure who has devoted himself to something beyond human relationships, but this is seen as admirable rather than negative.
The third verse speaks to a sense of alienation or disconnection, as the singer urges the person not to reveal certain information about themselves because it may lead to persecution or martyrdom. The line "the Gods won't get to heaven till they'll crucify his brain" is particularly striking, as it suggests that intellectual and spiritual sacrifice is necessary to achieve redemption or enlightenment. The fourth verse welcomes the listener to various settings, from the graveyard to the liquor stand, and emphasizes that they should appreciate their lot in life. This suggests a certain level of fatalism or acceptance, but also a sense that even in difficult circumstances, there is value to be found.
Line by Line Meaning
Baby that preacher gave you spring
The preacher granted you new life and hope
In the window with his finger
Pointing towards the future with faith and religion
In the undertaker's wing
In the place where death is handled
Chorus:
Repeating the main idea of the song
Oh, Cajun Woman
Addressing the woman being sung about
Some people still call you a queen
Despite your hardships, you still have admirers
I don't believe you're sinking
I have faith in your strength and resilience
Look at all the trouble you've been
Reflecting on the woman's difficult past
He grew up in the Bayou
Describing a man's childhood in Louisiana
With a Bible around his neck
Religion was an important part of his identity
He never loved a woman
He never experienced deep romantic love
In the way you would expect
In the conventional sense
Chorus:
Repeating the main idea of the song
Don't tell him about his father,
Don't reveal anything about his origins
Don't tell him about his name
Keep his identity and past hidden
The Gods won't get to heaven
Rebelling against religious norms and dogma
Till they'll crucify his brain
Until individuality is stamped out and conformed to beliefs
Chorus:
Repeating the main idea of the song
Well, it's welcome to the graveyard
Death is an inevitable reality
And welcome to the throne
Accepting power and influence
Welcome to the orphanage
Feeling abandoned and alone
Where your family sit and moan
Knowing your loved ones are struggling too
Welcome to the liquor stand
Turning to alcohol to cope
And welcome to the poor
Struggling with poverty and hardship
Your mama never told you how lucky you are
Expressing gratitude for what little blessings one has
Chorus:
Repeating the main idea of the song
Lyrics © BMG Rights Management
Written by: Richard John (Gb1) Thompson
Lyrics Licensed & Provided by LyricFind
Ronno
on Book Song
Beautiful song, even if I can't understand what's going on: she's reading a book, he's writing one (and playing) .. I wanted it to be abouth former FC singer Judy Dyble , who would knit on stage if she wasn't singing. The girlfriend theory makes some sense, but if Ian said it was about his daughter...