Posts Tagged ‘Richard Thompson’

Unhalfbricking front

“Unhalfbricking” was the third album by the British folk rock band Fairport Convention and their second album released in 1969. It is seen as a transitional album in their history and marked a further musical move away from American influences towards more traditional English folk songs that had begun on their previous album, What We Did on Our Holidays and reached its peak on the follow-up, Liege & Lief, released later the same year. 1969 was a roller-coaster year for Fairport Convention. In January of that year they released their second album What We Did On Our Holidays, the first with singer Sandy Denny. In May they hit rock bottom with a tragedy that killed two people including one of its members. Miraculously they recovered and released the album that defines the British folk rock revival of that period, the iconic Liege and Lief. By December Sandy Denny and bass player Ashley Hutchings had left the band to form Fotheringay and Steeleye Span and the classic Fairport Convention lineup was no more. And that was not all, for these events book-ended one more album that the band managed to record and release during that prolific period, One of the classic records from that era, “Unhalfbricking”.

The band was going through a Bob Dylan phase at the time, resulting with three covers of his songs on the album. Dylan’s version of Million Dollar Bash, later to appear at the Basement Tapes album but at that point not yet released, came to the band through producer Joe Boyd’s song publishing company which had access to Dylan’s new recorded materials. The great mandolin accompaniment is courtesy of Dave Swarbrick, who made a number of excellent recordings with Martin Carthy between 1965 and 1968, and was called by  Joe Boyd to guest on a number of songs on Unhalfbricking. Another Dylan cover was for a relatively unknown song, If You Gotta Go, Go Now. Dylan recorded it in 1965 for his Bringing It All Back Home album but decided not to include it in the album, instead releasing it as a single in the Netherlands in 1967. Manfred Mann covered the song soon after Dylan recorded it in 1965. Fairport Convention gave it an interesting twist by singing it in French, translated to Si Tu Dois Partir.

Fairport Convention 1969

Fairport Convention was playing a gig at the Middle Earth and thought it would be amusing to do Dylan’s song in French Cajun style, so the band called for volunteers from the audience to help with the translation. Richard Thompson: “About three people turned up, so it was really written by committee, and consequently ended up not very Cajun, French or Dylan.” The studio version is a better attempt at the Cajun style, featuring Dave Swarbrick on fiddle, Richard Thompson on accordion and Trevor Lucas, who later formed Fotheringay with Denny, on triangle. The band was quite inventive when it came to producing interesting sounds in the studio. Joe Boyd, from his book White Bicycles: Making Music in the 1960s:Martin created the Cajun washboard sound for “Si Tu Dois Partir” by stacking some plastic Eames chairs and running his drumsticks along them. The percussion break was supposed to feature an empty milk bottle lying on the topmost chair, but when the time came it fell and smashed on the floor. I signaled frantically to keep playing. The crash of broken glass was absolutely in time and worked perfectly, a good omen for the session.” The song was released as a single, reaching #21 in the UK singles chart, and got the band its only appearance at Top of the Pops on August 14, 1969.

Of the three Dylan covers Percy’s Song, recorded by Dylan in 1963 for his third album The Times They Are a-Changin‘. The song did not make it into the album and was released some twenty years later on the Biograph collection. The song lyrics are a futile plea to a judge to reconsider a harsh sentence given to a driver in a fatal car accident. Sandy sings a beautiful harmony with Ian Matthews who left the group after their previous album had been the band’s male vocalist Matthews left during the recordings for Unhalfbricking to make his own album Matthews’ Southern Comfort, after recording just one track, “Percy’s Song”, and her interpretation is the best I know for this lesser known Dylan tune. Guitar player Simon Nicol said this of Denny’s vocal on the song: “It needs a voice like Sandy’s to get the shades of emotion across, from moodiness to compassion to outright fury. There’s not many singers can do that.”

One song on Unhalfbricking points to the direction that the band will take on their next album. A Sailor’s Life is a traditional song brought to the band by Sandy Denny. The song, indexed as Roud 237 in the English Folk Dance and Song Society, was previously covered by Judy Collins on her album A Maid of Constant Sorrow in 1961 and by Martin Carthy on his second album from 1966.
Fairport Convention’s version is a milestone in British folk rock, maybe the first time a serious rock interpretation was given to an old ballad. Sheila Chandra, who was inspired by Sandy Denny’s delivery of the song and later covered it herself, found similarities to Indian music in Fairport Convention’s version: “The track is actually a microcosm of 2,000 years of Indian music – it goes from Vedic chanting on two or three notes right through to full improvisations on a fixed note scale. All in one take. The band have realized that all folk music is based upon a drone, and shares a common root. For instance, the way the violin comes in with an insistent repeat of the drone note is reminiscent of the Indian wind instrument the Shenai, and its distant relative the shawm in Irish music. It all connects.” That violin is played by Dave Swarbrick, his finest contribution to the album.

Fairport Convention’s version of this poignant traditional song marks a pivotal point in the development of folk-rock, representing as it does a brilliant fusion of a traditional form with all the dynamic, exploratory approach of modern rock playing. The song had been a part of Sandy Denny’s repertoire when she joined Fairport. As a traditional song it had been known in many forms. A Sailor’s Life starts as a plaintive lament on the fickleness of sailors and the agonised waiting endured by their sweethearts until their return. The terrible irony of her rather bitter condemnation of the sailor’s life as ‘merry’ is brought home by the subsequent tragedy. The singer extols her beloved’s virtues before she sets off to find him. She hails a passing ship and is told that he is feared drowned. Beside herself with grief and despair, she runs her boat against a rock. This could be seen as a metaphor for another tragedy as she takes her own life. The song then echoes the stormy course of the bereaved woman’s grief, as it takes off into a passage of terrific ensemble playing, all instruments interweaving, building to an overwhelming intensity, before settling to a sombre resolution. There are echoes of everything from dirges to hornpipes in an extraordinary composition. The Unhalfbricking album, from which A Sailor’s Life comes, foreshadowed the more overtly folk-rock album Liege & Lief, often considered a classic of its kind. The title Unhalfbricking was taken from a word Sandy Denny came up with in the word game Ghost. The track A Sailor’s Life was done in one take.

Fairport Convention

John Wood, who was the principal sound engineer in the studio, recalls the recording of the song: “Richard and Sandy came in and said “we really think we can only do this once”. They already got Dave Swarbrick in to play on it. We put Sandy in a vocal booth (she had an awful cold that day too) and everybody else in a big semicircle. When you want to cut that sort of track, its not easy for people to work if its all sectioned off, so it was very open and that was it, one take, done. No overdubs.” Dave Swarbrick was given no specific instructions as to what to play on the song other than to just come in when the singing stops. He had fond memories from the session as well: “Sandy had a great band to soar over and a great bunch of musicians who were sympathetic. Richard and Sandy worked closely together. Richard was awesome, of course. That should be his middle name. But the band was cohesive and so special, the chemistry worked and the line-up was sensational.”

Who Knows Where The Time Goes hand written lyrics

I have two favorite songs on this album, and one of them is Sandy Denny’s Who Knows Where the Time Goes?. Denny wrote the song early in her career with the original title The Ballad Of Time. She was not yet 20 years of age when she wrote the mature lyrics about the passage of time. She sang it during her short stint with the Strawbs in 1967,  accompanied by Dave Cousins on guitar. Judy Collins gave the song an interpretation in 1968 on her album of the same name and as a B-side on her single Both Sides Now.
The song became one of Denny’s most enduring and beloved songs, and in 2007 it was voted by BBC Radio 2 listeners as their favorite folk rock track of all time. It was the last song to be recorded for “Unhalfbricking”, and the last drummer Martin Lamble will ever record with the band.

The album was recorded in the early months of 1969 at Sound Techniques and Olympic Studios in London. Sound Techniques was a go-to studio for many great psychedelic, rock and folk British acts of the time, including Nick Drake (Five Leaves Left, Bryter Layter), Incredible String Band (The 5000 Spirits Or The Layers Of The Onion), Jethro Tull (This Was), John Martyn (Solid Air), Pentangle (Cruel Sister), Pink Floyd (Arnold Layne), Steeleye Span (Parcel Of Rogues) and Fairport alumni Richard Thompson and Sandy Denny. John Wood assembled a roster of first-class musicians who acted as the house band for a great variety of recording sessions. Not surprisingly, many of them were associated with Fairport Convention, including Dave Mattacks and Gerry Conway on drums, Danny Thompson, Dave Pegg and Pat Donaldson on bass, Richard Thompson, Jerry Donahue and Simon Nicol on guitars.

“Unhalfbricking” was released in July of 1969, several weeks after the fatal accident on the M1 that killed drummer Martin Lamble and Jeannie Franklin (“Genie the Tailor”, who designed clothes for west-coast pop and rock elites), Richard Thompson’s recent girlfriend. The event questioned the band’s resiliency, and was followed by an amazing period of recovery that gave birth to Liege and Lief. Franklin was immortalized a month later when Jack Bruce dedicated his debut solo album Songs for a Tailor to her, and Elton John’s Tiny Dancer is likely about her as well with the telling lyrics “Blue Jean Baby, L. A. lady/Seamstress for the band”.

Fairport Convention accident news clip

“Unhalfbricking” climbed to a respectable #12 in the UK album chart, its name penned by Sandy Denny who came up with the made-up word in a game of Ghost the band was playing while traveling in their beat up van to shows. Uncharacteristic for its time, the front cover features a single photograph with no indication of the band or album name. Two people, Sandy Denny’s parents, are standing in front of their house on Arthur Road, Wimbledon in the autumn of 1968. In the background we can see the band lounging in the front yard. Even more uncool is the back cover with a picture of the band engaged in the domestic task of having a meal. The whole package smells of looking back at days of yore, keeping a distance from current trends.

A&M Records, who distributed the band’s albums in the US, found the album cover’s concept abnormal and instead decided in a curious creative burst that the average American consumer’s palate might appreciate a photo of three dancing circus elephants with a girl dancing (balancing?) on top. Underestimating the American record buyer’s tolerance to the unknown, the band and album titles were slapped on the US album cover.

The B-side on the single Si Tu Dois Partir went unnoticed at the time but over the years became one of Richard Thompson’s favorite performance songs. It is also my favorite tune on the album, achingly sang by Sandy Denny. It is one of the first in Thompson’s career-long strike of beautiful melancholic songs, the album opener Genesis Hall. Thompson on the topic of the song: “Genesis Hall was the name of a building in London that was occupied by squatters. The police went in and were far too brutal in evicting the people. My father was a policeman at the time, and although he was not involved in this operation, I could see the situation from both the squatters’ and police’s points of view. This was conflicting for me, and I tried to express that.”
The August 1969 issue of the underground newspaper International Times mentions an incident that took place in the Drury Lane Bell Hotel involving police and squatters. It happened in March of that year, when Fairport Convention was in the process of recording Unhalfbricking:  Thompson covers the song from time to time on his live shows, giving it a fantastic acoustic version. A great example is from the first episode of the BBC Songwriter’s Circle series from 2010.
Several reasons why this song moves me: The lyrics, again so mature for a 20 year old who has not written too many songs up to that point. The sad yet somewhat detached mood in which Sandy Denny sings them. The part where the whole band is soaring with her when they sing “Oh, oh, helpless and slow”. The dual guitar work by Richard Thompson and Simon Nicol. Martin Lamble’s drumming, sadly not discussed too often, demonstrating his ability to play very interesting patterns behind the melody as if he was playing a melodic instrument himself. Only a month after the band finished recording the album Lamble died in that car crash. The band went through a rough period of mourning and healing and came out on the other end with the album that defines British folk rock. Check out Richard Thompson’s biography, written by Patrick Humphries. A great resource for Thompson’s fans and an interesting chronicle of Fairport Convention during the time Thompson was with the band.

Ashley Hutchings said in relation to the album cover photograph:

My memory of it is bound up with the terrible car crash. On the back cover we’re all eating around a table. The shirt and the leather waistcoat I’m wearing are what I had on when the crash happened. I can clearly remember them being bloodstained. You don’t forget things like that.

Martin Lamble, a talented musician, died in 1969 in a crash while returning from a gig, aged 19. Dave Swarbrick, a highly influential fiddle player, has had health problems but joined Fairport on stage for a number in August 2010. Simon Nicol has been the band’s lead singer and guitarist since 1975. Ashley Hutchings, an outstanding bassist, has been a major force in music and helps make folk accessible to younger listeners. Richard Thompson has composed many acclaimed songs and tours regularly. He appears in many polls for the greatest guitarists of all time. Sandy Denny composed many great and enduring songs. One of the greatest of English folk artists, she died 21 April 1978, aged 31, following a fall.

Unhalfbricking back



Universal Records will issue a seven-CD Fairport Convention box set in July that features ‘key album tracks’, non-album singles, radio sessions and previously unreleased live recordings from all of the classic line-ups

This collection celebrates Fairport’s first 10 years, beginning with their eponymous debut for Polydor in 1968, through all of their albums for Island Records and finishing with tracks from their two albums for Vertigo, The Bonny Bunch of Roses and Tippers Tales.

Out of the 121 tracks included almost half (55 to be exact) are previously unreleased, including alternate takes, live recordings, single mixes and TV performances and the like. As well as the aforementioned album tracks, box highlights include single B-sides, BBC Radio Sessions, five songs from the French TV programme, ‘Pop 2’ (December 1970), five songs from the Television show, ‘The Man They Couldn’t Hang’ (1971) and the audio for an entire concert at The Fairfield Halls, Croydon (December 16th 1973) and more.

Completists may scoff at this not including every last note that the seminal English folk-rock group from recorded during the first decade of its existence, but what is compiled on this seven-CD set is a near-perfect overview of what Fairport Convention has been doing for 50 years. The cream of the collection is previously unreleased live material and radio sessions where guitarists Simon Nicol and Richard Thompson were able to stretch out and show off their copious abilities. The box is also a testament to how sturdy the group’s sound has been as it endured various personnel changes through even its earliest incarnations.

Sleeves notes for this release come courtesy of writer Patrick Humphries. Come All Ye: The First Ten Years will be released on 28th July 2017.

Fairport Convention-Come All Ye Box Set-Exploded Packshot.jpg

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The Weather Station  –  The Weather Station

On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The most fully realized statement to date from Toronto songwriter Tamara Lindeman. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.

CD – Digipack.

LP – Deluxe 140 Gram virgin vinyl LP features heavy-duty board jacket with full lyrics, full-colour inner sleeve, and high-res Download Card.

Yak yala! cover

Yak  –  All I Need Is Some Sunshine In My Life

Limited to just 300 Copies on 7″ Vinyl. Renowned for the ferocious intensity of their live shows, Yak are back with the new single All I Need Is Some Sunshine In My Life. Recorded with Tame Impala’s Jay Gum Watson in Kevin Parker’s studio in Perth, the track is Yak’s claustrophobic interpretation of The Dixie Nightingale’s cult gospel classic. “A loved one departed and on the way out sent me this song, so we ended up recording a delirious version in the blistering heat of Perth,” says Yak frontman Oli Burslem. “I love the original Dixie Nightingales’ version, it reminds me of songs like Wendy Rene’s ‘After Laughter’, which I imagined was recorded in the same studio with maybe even the same people playing.” On the b-side is Yak’s take on Lee Hazelwood’s Wait and See.

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Weaves  –  Wide Open

It’s been almost exactly a year since Weaves released their acclaimed self-titled debut LP, lauded internationally for its exuberant approach to guitar pop and recently nominated for this year’s Polaris Prize. It was a whirlwind year for the band who spent a nearly uninterrupted 12 months on the road, playing festivals across the globe, and touring with their fellow 2016 breakout artists Sunflower Bean and Mitski. Propelled forward by their own momentum, which they corralled like the barely contained energy of their explosive live sets, it was a life changing-experience, and upon returning home to Toronto the band’s leaders, singer Jasmyn Burke and guitarist Morgan Waters, found themselves possessed by an irrepressible burst of creative energy.

Burke and Waters half-jokingly refer to the album as their “Americana” record, and while the statement is made with tongues placed firmly in cheeks, the album, without discarding the punky pyrotechnics that defined their first LP, displays an expansive and anthemic quality in songs like the opener #53 and the sweeping Walkaway, that makes the joke ring half true. The record sees Burke extend herself as a performer – moving more frequently to the center of arrangements and revealing new facets of her unique and powerful singing voice – as the band find ways to interpret the growing diversity of her expression. From the glammy Saturday night strut of Slicked, to the stripped-down, pedal steel abetted torch song Wide Open, to the searing Scream, a warped duet with Inuit throat singer Tanya Tagaq that likely constitutes Weaves’ wildest recording to date, the album captures a band for whom exploration is a compulsion making a self-assured step into the unknown.

LP+ – Limited White Vinyl housed in Gatefold Sleeve with Download.

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized
processes in producing music. Even so, the prevailing assumption is that musicians working
under this broad umbrella must be inspired by concepts equally as electrified as their
equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this
notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites
naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough Ears, chronicles four defining
cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself,
existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,”
which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness
here, but it’s elevated by an undertone of gravity into something compelling and majestic that is
fast becoming Smith’s watermark. The emotional focus of side two is the vital but under reported
moment in early youth when we cross the threshold into self awareness. The subject is profound
enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s
ambition to broach subtler and deeper subjects than the average composer. This side offers up
another highlight in the form of In The World But Not Of The World which serves its subject well
with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end
pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut Who I Am and Why I Am Where I Am recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You’re not there unless you’re recorded,” Watts muses, “if you shout, and it doesn’t come back and echo, it didn’t happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.
2LP – Double Black Vinyl.
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Yumi Zouma –  Willowbank

Following last year’s lauded debut LP, Yumi Zouma return to Cascine with their sophomore album, Willowbank, a collection of dreamy, disco-indebted pop tracks. The album’s namesake is a wildlife reserve in the band’s home base of Christchurch, NZ, a community on the mend in the wake of a devastating earthquake in 2011. The Yumis, whose four members are scattered across the globe, reunited in New Zealand to write and record Willowbank. The result is an album that channels both the tight-knit togetherness and the unparalleled beauty of their native land. Willowbank is also some of Yumi Zouma’s best work to date, refining their effortless, windswept songwriting sensibility, while also exploring a new pallet of sounds and textures.


Cults  –  Offering

Cults made their name in black and white. A pair of film school dropouts who burst onto the New York scene with a perfect single and a darkly retro sound, the band’s first two albums play like noirish documentaries on a lost girl group. Four years after Static, Cults returns with Offering, an exciting collection of songs bursting with heart, confidence, shimmering melody and buzzing life. The time off has given the band new energy and new ideas–Cults are working in Technicolour now. The core duo remains the same. Madeline Follin and Brian Oblivion, both 28, still live in New York. They still finish each other’s thoughts and still share a love of catchy music and black humor (this is a band that sampled cult leader Jim Jones on their first hit). But the pair have put some blood on the tracks since their breakout debut: they’ve toured the world, built a devoted audience, survived a breakup, grown up in green rooms, parted ways with their old label and made a home of their new one.

Pains album cover

The Pains of Being Pure at Heart – The Echo Of Pleasure

The Pains of Being Pure at Heart have long set the benchmark for big-hearted, idealistic pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirations and embrace their role as indiepop heroes in their own right. Showcasing the deft songwriting of frontman Kip Berman, The Pains‘ fourth album is their most confident and accomplished. After three critically-acclaimed records, 2009’s The Pains of Being Pure at Heart, 2011’s Belong and 2014’s Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collection of songs that possess a timeless grandeur, deeper and more satisfying than anything the band has done since their iconic debut.

It’s an album that reflects the band’s most joyous moments while maintaining Berman’s candid and critical lyricism, free of the self-abasing insecurity of youth. “The album is loving. The music is heavier, more expansive,” he says. “To me, songs about love shouldn’t be thought of as light. Love is big- sometimes it’s emphatic, overwhelming or simple – other times it’s tense, anxious or just exhausting. But at its best, it makes you want to be something better.”

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Miracle Legion  –  “Annulment”

First ever live album by Miracle Legion, Annulment was recorded during the band’s 2016 US reunion tour. Most of the album comes from a show at Codfish Hollow, Iowa plus tracks from the Bellhouse, Brooklyn show. Double CD with 25 songs

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Richard Thompson – Acoustic Classics 2

A continuation of the Acoustic Classics series, this collection features acoustic renderings of classic songs from the Richard Thompson catalog, including some previously recorded by other singers, some only available in a band format, and some only existing as cover versions.

3LP – Triple Gatefold Vinyl comprising Acoustic Classics II and the Acoustic Rarities albums.

Richard Thompson

Celebrated guitarist and songwriter Richard Thompson will release Acoustic Classics Vol. II on his own Beeswing record label, distributed via Proper, on August 11th. Richard will play Cropredy Festival in August, celebrating the 50th Anniversary of Fairport Convention and tour the UK in October.

On the heels of the success of Acoustic Classics in 2014, Acoustic Classics Vol. II will feature acoustic renderings of classic songs from the Richard Thompson catalogue, some previously recorded by other singers, some previously available only in a band format. A second album Acoustic Rarities will be released later in the year featuring new recordings of some of the more obscure songs in the Thompson catalogue, some previously existing only as cover versions.

Terrific close-ups of Richard Thompson playing and Linda Thompson singing.The drummer is Michael Spencer Arscott
A short-lived touring combo of Richard and Linda Thompson, Dave Pegg, yours truly and Michael Spencer-Arscott playing up a nice steady storm behind the kit. He doesn’t seem to be on FB but members of his family are, back at his home in Bermuda, where he is still in music, seemingly producing but hopefully still keeping his playing chops up.
There are some interesting items in the repertoire, many of which have sadly not been seen or heard since. Hard Luck Stories, Sunnyvista, Don’t Let a Thief etc etc. Simon Nicol should apologise for my stage outfit. I was being post-ironic, channeling my inner Golf-Club Secretary. Honest.
Recorded live at Rockpalast, Markthalle, Hamburg, Germany, 10th January 1980. Richard Thompson, guitar; Linda Thompson, vocals; Simon Nicol, guitar; Dave Pegg, bass; Michael Oscar, drums.

1-1 For Shame Of Doing Wrong
1-2 Strange Affair
1-3 Hard Luck Stories
1-4 Crying In The Rain
Written-By – Carole King, Howard Greenfield
1-5 You’re Gonna Need Somebody
1-6 Pavanne
1-7 Sunnyvista
1-8 Don’t Let A Thief Steal Into Your Heart
1-9 Lonely Hearts
1-10 Sisters
1-11 Civilisation / Pipeline
1-12 Night Comes In
2-1 I’m A Dreamer
2-2 Borrowed Time
2-3 I Want To See The Bright Lights Tonight
2-4 No Particular Place To Go

Live In Iowa City, Iowa on June 7, 2013. Richard Thompson thinks of music as a spiritual act and as soon as he picks up a guitar you don’t doubt him. There is a great deal more than flesh and blood and bone about his fingers. Thompson, always the dark horse in those Rolling Stone polls to determine the greatest guitarist of all time, who John Peel liked to call the “best-kept secret in the world of music”, is one of the few artists who derives inspiration from both Sufi mysticism and the back catalogue of George Formby. He has taken lately to playing on stage a not-quite random shuffle from the greatest hits of the past 1,000 years: he channels multitudes.


 With such a family history  the Thompsons are one of English Folk’s heritage, acclaimed singer songwriter guitarist Richard Thompson and equally lauded ex wife and vocalist Linda Thompson who released six superb albums from 1973-1982 including the classic “I Want To See the Bright Lights Tonight” then their son Teddy who has released his own albums and daughter Kami who with husband James Wallborne formed  the excellent Folk Rock band “The Rails” last year, so together with other family members nephew Zak Hobbs they have got an new album tilted “Family” a 2 disc set of CD/DVD by the collective band “Thompson” their first output “Careful” with some distinctive Richard Thompson jangly guitar and lush backing harmonies from the other family members, due out 18th November


The Rails are English singer songwriter Kami Thompson youngest daughter of Richard and Linda Thompson and James Walbourne well know guitarist fr his work with Son Vault and most notabaly The Pretenders, reaching deep into their musical heritage a true folk blend since the early seventies, produced with the assistance of Edwyn Collins and featuring Folk Eliza Carthy The Rails debut album ” FAIR WARNING ” with traditonal and original songs

this the album I fell in Love with Linda Thompson’s haunting vocal , today it celebrates being 40 years old, Dark and Brooding It was the first album recorded as a duo with  Richards new bride , recorded in May 1973  but not released until 1974  by Island Records. The Duo recorded a further two more albums together HOKEY POKEY and POUR DOWN LIKE SILVER. Ignored at the time but now considered to be a critical masterpiece

richard and Linda