In praise of: Richard Thompson
Does Richard Thompson need more praise? Probably not, given that, despite never hitting the heights of commercial success, he's widely revered as one of the very best guitarists of his (or any other) generation, and as a superb songwriter with a distinctly quirky worldview. Still, having first encountered RT's guitar playing with Fairport Convention in the late 1960s and seen many live performances between 1975 and the present day, I feel like airing my own thoughts.
The first Fairport album I recall hearing is their third; 1969's Unhalfbricking. It opens with Thompson's Genesis Hall, a remarkably mature and somewhat world-weary song for such a youthful songwriter. The standout track is the epic, freeform A Sailor's Life featuring guest violinist Dave Swarbrick -- a collaboration that inspired the band, with Swarbrick fully on-board, to pursue the melding of traditional music with rock instrumentation (something they perfected with their next record). The interplay between Fairport's guitar and fiddle virtuosi would be a feature of the band's best days. The other classic on Unhalfbricking is singer Sandy Denny's sublime and much-covered Who Knows Where The Time Goes.
Fairport really got into their stride with the next two records: the classic, folk-rock-defining, Liege & Lief and Full House (minus Sandy Denny, with Dave Pegg replacing Ashley Hutchings -- and RT's last Fairport album). Enough has been written about L&L in particular over the years, so I'll just flag up the songs that made the biggest impression on me: the Fairport-written, folk-soaked Come All Ye, Farewell Farewell and Crazy Man Michael; and the traditional Tam Lin, The Deserter, Reynardine and Matty Groves, plus the trademark jigs and reels. Actually I just realised that's the entire album, which is why it's a rightly revered classic!
Standouts on Full House were the traditional Sir Patrick Spens for its great ensemble playing (time for a shout-out here to the peerless Dave Mattacks on drums and RT's longtime rhythm guitar sidekick Simon Nicol) and the 9-minute Thompson/Swarbrick-penned Sloth for its fantastic guitar/violin sparring. It's fair to say that RT's slow-building but ultimately intense guitar solo on this track is the biggest single influence on my own guitar playing (not, I hasten to add, that I could ever get anywhere near his level of skill).
It was around this time (1971) that I excitedly attended one of my first gigs, aged about 14, with my elder brother James: Fairport Convention at a cinema in York. Imagine my disappointment on discovering that RT had recently left the band, leaving Simon Nicol to handle the Sloth solo -- which he did, with aplomb I may say, although I recall him commenting modestly that he was 'no Richard Thompson' (no-one is).
I finally caught up with RT in acoustic troubadour mode with his wife Linda at an Imperial College gig in 1975, and was suitably impressed with his unplugged playing and thoughtful songwriting. The duo must have played their 'hit' I Want To See The Bright Lights Tonight at this gig, along with perennial favourites such as Down Where The Drunkards Roll, The Great Valerio and the impossibly bleak End of the Rainbow. They probably played some songs from RT's first solo album Henry the Human Fly, which has the dubious honour of being Warner Brothers' worst-selling record ever. I'm proud to say I own a copy! He was pretty shy and reticent in those days -- a far cry from the wryly amused figure he now cuts onstage.
Other gigs? There are many highlights, including several Cropredy appearances (plus a memorable 50s rock 'n roll set in 1981 at Broughton Castle with a scratch band called The GPs, including Ralph McTell, Dave Pegg and Dave Mattacks), a blinding Hand Of Kindness-era performance at The Mean Fiddler in Harlesden, a solo appearance a festival in Leeds where RT did a request I shouted out (A Heart Needs A Home) and another recent solo set at The Stables near Milton Keynes where my wife Jenny smuggled a birthday request backstage for Down Where The Drunkards Roll. When RT called my name from the stage I nearly passed out! My younger brother Rob and I caught the current Electric trio tour at Cambridge Corn Exhange in February, and the man's in as good form as ever. Nice cover of Cream's White Room to round off that gig.
Is it clear I'm a fan? What's great about RT, apart from the jaw-dropping guitar playing and distinctive songwriting, is that at 63 he's still seeking to push himself, taking on new challenges such as complex song cycles and classical music commissions -- while also still able to belt out celtic-infused rock 'n roll that makes most players (myself included) want to hang up their guitars and simply listen in wonder.
Postscript
Here's RT on the Letterman show recently:
The first Fairport album I recall hearing is their third; 1969's Unhalfbricking. It opens with Thompson's Genesis Hall, a remarkably mature and somewhat world-weary song for such a youthful songwriter. The standout track is the epic, freeform A Sailor's Life featuring guest violinist Dave Swarbrick -- a collaboration that inspired the band, with Swarbrick fully on-board, to pursue the melding of traditional music with rock instrumentation (something they perfected with their next record). The interplay between Fairport's guitar and fiddle virtuosi would be a feature of the band's best days. The other classic on Unhalfbricking is singer Sandy Denny's sublime and much-covered Who Knows Where The Time Goes.
Fairport really got into their stride with the next two records: the classic, folk-rock-defining, Liege & Lief and Full House (minus Sandy Denny, with Dave Pegg replacing Ashley Hutchings -- and RT's last Fairport album). Enough has been written about L&L in particular over the years, so I'll just flag up the songs that made the biggest impression on me: the Fairport-written, folk-soaked Come All Ye, Farewell Farewell and Crazy Man Michael; and the traditional Tam Lin, The Deserter, Reynardine and Matty Groves, plus the trademark jigs and reels. Actually I just realised that's the entire album, which is why it's a rightly revered classic!
Standouts on Full House were the traditional Sir Patrick Spens for its great ensemble playing (time for a shout-out here to the peerless Dave Mattacks on drums and RT's longtime rhythm guitar sidekick Simon Nicol) and the 9-minute Thompson/Swarbrick-penned Sloth for its fantastic guitar/violin sparring. It's fair to say that RT's slow-building but ultimately intense guitar solo on this track is the biggest single influence on my own guitar playing (not, I hasten to add, that I could ever get anywhere near his level of skill).
It was around this time (1971) that I excitedly attended one of my first gigs, aged about 14, with my elder brother James: Fairport Convention at a cinema in York. Imagine my disappointment on discovering that RT had recently left the band, leaving Simon Nicol to handle the Sloth solo -- which he did, with aplomb I may say, although I recall him commenting modestly that he was 'no Richard Thompson' (no-one is).
I finally caught up with RT in acoustic troubadour mode with his wife Linda at an Imperial College gig in 1975, and was suitably impressed with his unplugged playing and thoughtful songwriting. The duo must have played their 'hit' I Want To See The Bright Lights Tonight at this gig, along with perennial favourites such as Down Where The Drunkards Roll, The Great Valerio and the impossibly bleak End of the Rainbow. They probably played some songs from RT's first solo album Henry the Human Fly, which has the dubious honour of being Warner Brothers' worst-selling record ever. I'm proud to say I own a copy! He was pretty shy and reticent in those days -- a far cry from the wryly amused figure he now cuts onstage.
Other gigs? There are many highlights, including several Cropredy appearances (plus a memorable 50s rock 'n roll set in 1981 at Broughton Castle with a scratch band called The GPs, including Ralph McTell, Dave Pegg and Dave Mattacks), a blinding Hand Of Kindness-era performance at The Mean Fiddler in Harlesden, a solo appearance a festival in Leeds where RT did a request I shouted out (A Heart Needs A Home) and another recent solo set at The Stables near Milton Keynes where my wife Jenny smuggled a birthday request backstage for Down Where The Drunkards Roll. When RT called my name from the stage I nearly passed out! My younger brother Rob and I caught the current Electric trio tour at Cambridge Corn Exhange in February, and the man's in as good form as ever. Nice cover of Cream's White Room to round off that gig.
 |
| The Richard Thompson Electric trio at Cambridge Corn Exchange, 24 February 2013 |
Postscript
Here's RT on the Letterman show recently:
Comments
Post a Comment