Thea Gilmore Albums (9)
What The Critics Say
Much of Liejacker was recorded at Thea Gilmore's house as self-therapy, without the expectation that the songs would released. While longtime producer/husband Nigel Stonier later embellished the stripped down originals with subtle percussion, bass, harmonica, fiddle, and even guest vocals from Joan Baez -- an influence on Gilmore's style -- for one song, the core of the project remains stark, personal and, not surprisingly, somewhat insular. The U.S. version, which appeared four months after the U.K. edition, features a shorter (by two tracks) and reconfigured set list, but this is a powerful album in either form. The skeletal "And You Shall Know No Other God but Me," with Gilmore's intentionally distorted lead vocals sounding as if they are coming out of an old transistor radio accompanied by stark acoustic guitar, is extremely effective in a chilling way. Elsewhere, her silky vocals are given free reign to swoop through the introspective lyrics that drive this folk-based material. Two duets, one with Baez and the other the opening track where Gilmore trades vocals with Dave McCabe of the Zutons, shimmer and glow with subtle authority, enhanced by her musical partner's and Stonier's sympathetic production. Lyrically, the album throbs with vivid visual references such as "Rosie"'s "you've got needles in your eyes from all those glances that you stole," made even more striking when sung by Gilmore's honeyed voice. Subtle loops and accordion added to "Roll On" enhance the folksy vibe as she sings "I'm another tinpot poet/another infidel/they're still scrubbing at the stains of the communion wine I spilled." There's a languid sense to many tracks and they unspool at their own leisurely pace. The nearly seven-minute "Dance in New York" begins with simple acoustic guitar and voice but turns into a dark, restrained widescreen epic by its closing strains. Gilmore mixes the controlled drama of Annie Lennox with the insistent purr of the Cowboy Junkies' Margo Timmins for an intoxicating brew that beckons the listener with a combination of sensuality and drama. This is one of Gilmore's least commercially oriented albums yet, and perhaps because of that, also one of her finest. ~ Hal Horowitz, All Music Guide
What The Critics Say
One of the U.K.'s most promising singer/songwriters returns after nearly a three-year absence. In the interim, Thea Gilmore had been diagnosed with clinical depression, dealt with serious illness in her family, and split with a longtime romantic partner. All of this was sure to affect her music, but Harpo's Ghost still feels like a natural successor to 2003's breakthrough release, Avalanche. Harpo's Ghost is produced again by guitarist Nigel Stonier, who isn't afraid to place Gilmore's breathy, sexy voice in a variety of edgy settings. The trick is to stuff the artist's plentiful lyrics into a vehicle that focuses attention on them yet allows her melodies to flourish, and Stonier succeeds wonderfully, shifting from the almost punkish attack of "Cheap Tricks" to the widescreen, primarily acoustic "Contessa," which borrows a few sonic tricks from U2. Both songs approach Gilmore's voice from different but equally sympathetic directions. The trip-hop traces that colored her previous work appear fleetingly on the opening "The Gambler" (not the Kenny Rogers song), but are otherwise gone now, replaced with a tougher guitar-based quartet sound on the rocking "We Built a Monster" and the circular guitar and organ of the funky and politically scathing "Everybody's Numb." Gilmore can sound both sublime and angry as she spits out "the United States of emptiness" lyrics to the latter, with pounding drums and percussion hammering home the point. Matters of the heart still power Gilmore's muse, especially when she unleashes "Call Me Your Darling," a dark love song with an inescapable hook of a chorus that stands as the album's most likely single. Stonier keeps the singer's magnificent voice up front where it belongs, and double-tracks her own harmonies to impressive effect on the ominous "Going Down," a cut that might concern her bout with depression and the problems of the previous few years. Harpo's Ghost is a strong, triumphant return for Thea Gilmore. It deserves to be the album that exposes her formidable vocal, lyrical, and melodic talents to a larger audience, especially in the States. ~ Hal Horowitz, All Music Guide
'Songs from the Gutter'
Release Date 6/28/2004
Tracks 23
Label Hungry Dog
See Album Tracklist and Review
What The Critics Say
Some people listen to the young Thea Gilmore and swear that they hear a modern Bob Dylan. Rather, listen to the lead track on this, her fifth album, and what you'll hear is arguably even better: Kirsty MacColl at the top of her game. Then move on to the next song, the snarling and roots-rocking "When Did You Get So Safe," and you'll hear more than a faint echo of Richard Thompson at the top of his as well. But ultimately such comparisons are misleading, because just about elsewhere else on this album all you'll hear is a sharp, thoroughly developed and really quite unique voice delivering songs that are personal without being maudlin and rootsy without being in the least derivative. This holds true even when she's covering other people's material, such as Bob Dylan's "I Dreamed I Saw St. Augustine" (itself a rewrite of the classic protest song "Joe Hill"), Bruce Springsteen's "Cover Me," and the Clash's "I'm Not Down." Elements of techno and electronica are tossed into the rhythmic mix from time to time, but the focus is always on gritty guitars and Gilmore's plainspoken voice, the better to show off lines like "I've learned your body like a nursery rhyme in Braille" and anthemic, meat-and-potatoes rockers like "Heart String Blues." If all of that sounds good to you, then you'll be even more excited to know that this package includes another entire disc of bonus material, songs that were available only on the Internet up until now. The sound quality of both discs is just a bit dodgy at times, but somehow that only adds to the album's gritty charm. Essential. ~ Rick Anderson, All Music Guide
What The Critics Say
With her deep burnished voice somewhere between Alison Moyet, Sandy Denny, Annie Lennox and Beth Orton, British thrush Gilmore moves a bit closer to the mainstream on her fifth album. Producer Nigel Stonier (who also plays guitar throughout) buffs up the sound but keeps Gilmore's folk-pop intact. The songs are some of her best with "Juliet (Keep that in Mind)" and the Dire Straits flavored "Mainstream" just a few standouts on an album that keeps getting better the more you hear it. Just the hint of loops on a few tracks, in particular the opening "Rags and Bones," also adds to the atmosphere without noticeably polishing up the sound. The lovely "God Knows" is spiritually based but even with its anthemic chorus never sounds preachy. And "Pirate Moon" is the perfect combination of haunting vocals with poignant lyrics. Gilmore never oversings, and even though continually in the spotlight, she exudes a graceful subtlety that other folk-rockers would do well to follow. There are hints of Highway 61 era Dylan in the jaunty "Heads Will Roll" but this is thoughtful, extremely well written, immaculately produced and exquisitely sung contemporary folk with a slight rock edge that never seems pretentious. Although it missed the Lilith train by a few years, it's the album that should put her over the top in America. ~ Hal Horowitz, All Music Guide
What The Critics Say
Singer/songwriter Thea Gilmore is an ambitious lass on her third album, Rules for Jokers. She boldly moves beyond the rock edges of The Lipstick Conspiracies for a confident, folk-rock appeal and it works magnificently. Acoustic guitars are ablaze throughout, giving Rules for Jokers a tough stance without much aggression. Lyrically, Gilmore is a complete artist. Her depictions of deception, sex, religion, and politics are richly textured in balladry. The daring and lustful "This Girl Is Taking Bets" dances around rockabilly/country jigs while "St. Luke's Summer" creeps along with Gilmore's hollowed vocals. "Benzedrine" is Rules for Jokers' shiny pop song; cellos and chimes accent crashing percussion for a dazzling look into self-perception. For a woman who's barely out of her teens, Gilmore sings with a weathered conviction, and it's mind-blowing. Rules for Jokers reflects upon trials and tribulations one may face, but without vengeance and bitterness. Gilmore sharply shapes it into something tangible without relying on massive production to heighten the album's overall punch. ~ MacKenzie Wilson, All Music Guide
'The Lipstick Conspiracies'
Release Date 1/1/2000
Tracks 12
Label Shameless
See Album Tracklist and Review
