Richard Thompson Albums (29)
What The Critics Say
After being given his walking papers by Capitol Records in 2000, Richard Thompson has taken a modest approach to his subsequent studio releases, 2003's The Old Kit Bag (a purposefully spare trio set) and 2005's Front Parlour Ballads (an acoustic collection recorded in Thompson's home studio). But Thompson seems to have relaxed a bit with 2007's Sweet Warrior, which boasts a more expansive sound and ambitious reach than those two albums. Produced by Thompson with his longtime aide de camp Simon Tassano, Sweet Warrior more clearly recalls 1991's Rumor and Sigh than any of Thompson's other albums; it lacks the high gloss of Mitchell Froom's production on that disc, but the broad dynamic between upbeat and dour numbers and the thematic sweep of these 14 songs certainly suggest Thompson was thinking big while making this album, and it suits him. Thompson is able to play his traditional theme of romance on the rocks for laughs on this set with the witty "Needle and Thread" and the droll but pointed "Mr. Stupid," while the sax-infused "Bad Monkey" is downright rollicking and the ska-influenced offbeat of "Francesca" is slinky and sensual. At the same time, Thompson digs deep into more serious themes, especially on the striking "Dad's Gonna Kill Me," a tense first-person tale of a soldier on patrol in Iraq, and while a very different sort of combat frames "Guns Are the Tongues," its story of a dull-witted boy turned against his own interests is equally compelling; both songs show Thompson's narrative skill and gift for wordplay are as strong as ever. Producer Thompson gives guitarist Thompson just the right amount of room to show off his estimable skills on these sessions, and the core band -- bassists Danny Thompson and Taras Prodaniuk, drummer Michael Jerome, and rhythm guitarist Michael Hays -- is as strong and versatile as one could hope for. At 68 minutes, Sweet Warrior feels just a bit overstuffed, especially given the simplicity of its immediate predecessors, but there's a hefty portion of fine songs and masterful playing here, and no one who has ever succumbed to Richard Thompson's magic should pass this up. ~ Mark Deming, All Music Guide
'Front Parlour Ballads'
Release Date 8/9/2005
Tracks 13
Label Cooking Vinyl
See Album Tracklist and Review
What The Critics Say
As a live performer, Richard Thompson has become nearly as well known for his dazzling solo acoustic performances as he has for his blazing full-band electric sets, but he hasn't displayed nearly as much enthusiasm for the acoustic guitar in the studio, usually limiting himself to one or two non-electric tunes on each of his albums (though 1996's You? Me? Us? features one disc of electric performances and another of acoustic material). Front Parlour Ballads marks Thompson's first full studio album of acoustic-oriented material since 1981's Strict Tempo!, and unlike that album, which was dominated by traditional material, this set features a bakers' dozen Thompson songs. Thompson also recorded and produced this set all by his lonesome in his home studio, and while the man has always shown good taste in collaborators, Front Parlour Ballads reveals how bright he can shine on his own. With the possible exception of the jaunty opener "Let It Blow" and the bitter "A Solitary Life," these elegantly constructed songs sound as if they would gain no aural advantage through bigger and louder arrangements, and the spare production allows the beauty of the melodies to shine through unfettered. While there's less flash in Thompson's guitar work on Front Parlour Ballads than on many of his albums, this restraint makes for a very powerful beauty of its own, especially in the counterpoint of the overdubbed guitars, and Thompson's vocals here are as effective as anything he's ever recorded as he allows his Britishness to run free in his lyrics. Front Parlor Ballads is built from modest stuff, but the finished product is as strong as anything Thompson has recorded in the past ten years; while this album supposedly began as an experiment as Thompson tested out some new recording gear, the results make it clear he shouldn't be afraid to spend a bit more time there, as this is a low-key triumph. ~ Mark Deming, All Music Guide
'Live from Austin TX'
Release Date 5/10/2005
Tracks 15
Label New West
See Album Tracklist and Review
What The Critics Say
There are few more reliable live performers than Richard Thompson, who never fails to impress on-stage in any context, and in recent years Thompson has been issuing a steady stream of live recordings (available through his website and at live shows), finally filling a void that bootleggers had been attempting to satisfy for some time. Live from Austin, TX is a slightly different animal than most of Thompson's self-released live offerings -- while many of Thompson's live offerings were culled from several dates from the same tour, this is a direct audio recording of the set he played at a taping for the great PBS music series Austin City Limits on July 2, 2001. It's also available through normal retail outlets, which means more people will be able to get hold of it, though in some ways it isn't quite as strong as Semi-Detached Mock Tudor, Thompson's 2002 release which includes much of the same material and a stronger, more dynamic sound mix. Still, there are those who will argue you can't have too many recordings of Thompson singing his songs or offering up his dazzling guitar work, and it's difficult not to agree after giving Live from Austin, TX a spin -- his interplay with bassist Danny Thompson and drummer Michael Jerome is remarkable, his wiry guitar playing is largely sublime (though the version of "Bathsheba Smiles" features that modern rarity, Thompson actually flubbing a phrase!), and the set list strikes a lovely balance between material from Mock Tudor and gems from his back catalog. In short, this disc features Richard Thompson playing 15 excellent songs in concert, and really, how far wrong can you go with that? ~ Mark Deming, All Music Guide
What The Critics Say
Richard Thompson is the sort of artist destined to be a cherished cult item rather than a bona fide star, which at the dawn of the 21th century puts him in an uncomfortable place in the music industry -- being able to reliably sell 100,000 copies of an album makes you too small for a major label, no matter how long they've kept you on the roster. In 2000, after a dozen years with Capitol Records, Thompson's contract was not renewed, and 2003's The Old Kit Bag found him recording for an independent for the first time since 1985. Creatively, this actually turns out to be a good thing; after the periodically excessive and self-conscious production Mitchell Froom imposed on nearly all of Thompson's releases for Capitol, 1999's Mock Tudor (produced by Tom Rothrock and Rob Schnapf) found Thompson going for a more lean and live sound, and with John Chelew at the controls, Thompson follows suit on The Old Kit Bag. Cut in a straightforward and stripped-down manner, with just bassist Danny Thompson, drummer Michael Jerome, and harmony vocalist Judith Owen along for company, The Old Kit Bag captures Thompson in spare but sympathetic circumstances; the performances are strong and confident, without a note or gesture wasted, and Thompson's interplay with his rhythm section is nothing short of superb. While Thompson eases back on the "wow, listen to that!" solos on The Old Kit Bag, his playing is fluid and superbly tasteful throughout, and his subtle overdubs show he's as good an accompanist as a bandleader. And Thompson's songwriting chops are still in superb shape; "A Love You Can't Survive" and "I'll Tag Along" are further meditations on Thompson's favorite theme, love and life gone wrong, and "Outside of the Inside" (which Thompson introduced on tour as "a song about how the Taliban see the West") is a chilling look inside a man blinded by his culture and his faith (and a bit of a surprise coming from a devout Muslim). The Old Kit Bag is Richard Thompson's simplest and most unadorned album since Shoot Out the Lights, and while it isn't an immediate masterpiece like that album, it confirms that this man's work is best presented at its simplest, and the result is a modest triumph. ~ Mark Deming, All Music Guide
What The Critics Say
While plenty of fans will tell you that Richard Thompson is one of the most consistently dazzling guitarists you're likely to see on a stage, even the greats have some nights that are better than others, and its our good fortune that someone had a DAT machine rolling on the evening in 1988 when Thompson and his band played the firestorm of a set preserved on More Guitar. One of the tracks on this album, a nine-minute workout on "Can't Win," was previously released as an example of Thompson's live prowess on the box set Watching the Dark, and most of More Guitar is every bit as jaw-dropping as that stellar performance. The set list is strong, concentrating on the then-current Amnesia while also paying a few visits to gems from the back catalog (including a surprising version of Henry the Human Fly's "The Angels Took My Racehorse Away") and a pair of choice covers. The band is one of Thompson's better road units, with the always welcome John Kirkpatrick on accordion, Clive Gregson and Christine Collister adding lovely harmonies, and drummer Kenny Aronoff driving the show like a locomotive. But the real draw of this disc is hearing Thompson go gloriously nuts on electric guitar, and his frenzied down stroking on "Don't Tempt Me," the over-the-top string bends and modal insanity of "Gypsy Love Songs," and ominous Stratocaster gunfire of "Shoot out the Lights" are manna from heaven for fans of the man's electric work. And even the most subdued numbers on this set display a passionate emotional intensity that's gripping and beautiful. In short, this was unexpectedly a show for the ages, and More Guitar allows Thompson fanatics to hear it at their leisure. Those who enjoy the more pastoral side of his music may be a bit put off, but if you love to hear him rock out, you've got to hear this disc, and that's that. (More Guitar has been released by Thompson's boutique label Beeswing Records, and can be purchased through his website, www.richardthompson-music.com.) ~ Mark Deming, All Music Guide
'1000 Years of Popular Music'
Release Date 1/1/2003
Tracks 23
Label Beeswing
See Album Tracklist and Review
What The Critics Say
As the year 2000 loomed on the horizon, Playboy Magazine took it upon itself to ask a number of leading musicians to name the greatest songs of the soon-to-be-completed millennium. One of the musos queried was Richard Thompson, and while many of his comrades couldn't be bothered to go further back than 1940 in their overview of musical history, the scholarly Thompson took the notion seriously enough to extend his own list of notable songs as far back as 1068 A.D. While Playboy never ended up printing Thompson's list, the notion made enough of an impression on him that he put together a special show in which he guided his audience through his own version of the greatest hits of the past ten centuries. 1000 Years of Popular Music is culled from recordings of Thompson's concert series of the same name, and beyond the novelty value of the set list (from the oldest round in the English language to Britney Spears in a mere 76 minutes!), it also offers a rare look at Thompson the interpretive musician, as well as lends a fascinating perspective on his musical influences. As one might expect, the early innings are dominated by the British folk tradition, with "King Henry V's Conquest of France" and "Blackleg Miner" suggesting where Thompson's melodic sense first took root, and other tunes demonstrating how operetta and the British music halls absorbed and refined similar themes. Thompson also indulges his passion for classic jazz of the 1930s and '40s on some Nat King Cole and Louis Armstrong chestnuts, and wraps up by following rock & roll through Jerry Lee Lewis, the Who, and the Beatles to Prince and Britney Spears ("Oops! I Did It Again," of which Thompson writes, "Taken out of context, this is a pretty nice song"). Considering that precious few of these songs were meant to be performed by a solo acoustic guitar, Thompson's arrangements are inventive and effective; whether he's going for laughs or drama, he gets the most from his material. (He's also fortunate to be joined in the proceedings by vocalist Judith Owen and percussionist Michael Jerome). 1000 Years of Popular Music is entertaining, informative, and a lot more enlightening than the average lecture on musical history. Perhaps Thompson should consider writing a text on the subject should his remarkable fingers ever fail him. (1000 Years of Popular Music has been released by Thompson's boutique label Beeswing Records, and can be purchased through his website, www.richardthompson-music.com.) ~ Mark Deming, All Music Guide
'Semi-Detached Mock Tudor'
Release Date 1/1/2002
Tracks 13
Label Beewing
See Album Tracklist and Review
What The Critics Say
After frequently expressing his displeasure with bootlegging of his live shows, Richard Thompson has taken on the profitable and rewarding sideline of issuing recordings culled from his concert tours, and Semi-Detached Mock Tudor was assembled from several shows recorded during a series of American East Coast dates in the fall of 1999, as Thompson and his band were supporting the album Mock Tudor. Featuring eight tunes from Mock Tudor, and five others from his back catalog, Semi-Detached Mock Tudor offers up a strong set list (though that's not especially surprising, at least if one is familiar with the album they were supporting), and Thompson and company are in typically splendid form. Thompson's effortlessly amazing guitar work is on prominent display throughout, with the high speed twists and turns of "Cooksferry Queen," and the sinuous jitter of "Two Face Love" sounding particularly remarkable in this context. Thompson's vocal readings are especially passionate on Semi-Detached Mock Tudor, making the most of a terrific set of songs, and as always, he's brought a crack set of sidemen along with him; with bassist Danny Thompson and drummer Michael Jerome stacking up as one of Thompson's finest rhythm sections ever, and Thompson's son Teddy Thompson adding lovely harmonies on several numbers. Anyone who has ever seen Richard Thompson live knows that the man never disappoints an audience, and fans who either missed this tour, or are looking for an aural reminder of what they heard, will want to make room for Semi-Detached Mock Tudor in their collection. (Semi-Detached Mock Tudor has been released by Thompson's boutique label Beeswing Records, and can be purchased through his website, www.richardthompson-music.com.) ~ Mark Deming, All Music Guide
What The Critics Say
Just how lost Richard Thompson was under Mitchell Froom and Tchad Blake's direction during the '90s is made clear by Mock Tudor, the brilliant sequel to the botched You? Me? Us? Producers/engineers Tom Rothrock and Rob Schnapf keep the production clean and direct, allowing the songs to breathe and letting Thompson play guitar. That decision alone would have made Mock Tudor a satisfying listen, but what elevates it into the first rank of his albums is, naturally, the songs themselves. Thompson structured the album as a portrait of suburbia, tackling a different subject with each song. It's not all about desperation, although there certainly is a lot of that there. Instead, Thompson is at the top of his form, offering subtle shadings in his lyrics and remarkably catchy, memorable melodies throughout the album. As a matter of fact, it's a bit of a tour de force, opening with the rollicking "Cooksferry Queen" and closing with its polar opposite, the hushed, intimate black comedy of "Hope You Like the New Me." Between those two songs, Thompson covers all sorts of emotional textures, resulting in his most affecting effort in years. Since even on his uneven '90s efforts he demonstrated that he still was in full grasp of his talents, it can't be said that Mock Tudor is a comeback, but it's certainly the best album he's made in over a decade. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Industry, the first official collaborative release from singer/songwriter/guitarist Richard Thompson and double bassist Danny Thompson, is a superb collection of pieces: six songs by Richard and five instrumentals by Danny, revolving around the impact of the industrial age from the 18th century to the 1990s. The record doesn't come across as, and isn't meant to be, a history lesson, but rather an attempt to evoke the feel of the times and capture the lives of the people who lived and worked through the period. The Thompsons, joined by members of Danny's band Whatever, as well as his uncles Albert and Harry Thompson on trombones and Richard's longtime associates Dave Mattacks on drums and Christine Collister on backing vocals, incorporate jazz, rock & roll, and traditional British folk music to convey their impressions of industry through the years. Richard, with songs such as the melancholy "Drifting Through the Days," the edgy "Saboteur," and the bouncy folk of "Lotteryland," has created some of his most challenging music to date. Meanwhile, Danny, whose family actually worked the coal mines, elicits the sadness, drudgery, and even joy of industrial England with sounds ranging from 18th century-style brass bands to British traditional music and modern jazz. Industry, from the foreboding opening instrumental, "Chorale," to the mournful closer, "Last Shift," is for the most part a dark ride through the mines and factories, and the lives and times of the people who made and were affected by the industrial age. The record makes an excellent companion piece to another Richard Thompson project, 1990's Hard Cash, a collection of songs by various artists from the British folk scene about the working class in Britain. ~ Brett Hartenbach, All Music Guide
What The Critics Say
The second of Richard Thompson's official bootleg recordings (sold only by mail), is a two-record set culled from the 1994 tour in support of his album Mirror Blue. Along with his band -- featuring double bassist Danny Thompson, Pete Zorn on sax, guitar, mandolin, and penny whistle, and drummer Dave Mattacks -- Thompson rips through various selections from his extensive catalog dating back as far as Fairport Convention's "Now Be Thankful." Aside from the full band cuts, Two Letter Words also includes a handful of fine acoustic numbers (solo and with Danny Thompson), ranging from Mirror Blue's "I Ride in Your Slipstream" to "Dimming of the Day" from 1974's Pour Down Like Silver. Though mainly of interest to hardcore Thompson fans, Two Letter Words succeeds as a fine document of this particular tour, while at the same time combating low quality bootlegs of similar shows. Highlights include Richard singing lead on songs previously sung by Linda Thompson ("Dimming of the Day," "Hokey Pokey") or Dave Swarbrick ("Now Be Thankful"), a stunning solo rendition of "I Ride in Your Slipstream," and the exquisite "Beeswing," featuring Pete Zorn's penny whistle. ~ Brett Hartenbach, All Music Guide
