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2-26/27th-97 |
National
Theatre. St Kilda.
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Set list 26th Feb
Easy There Steady
Now
Al Bowlly's
In Heaven
Jimmy Shands
When The Spell
Is Broken
1952 Vincent
Black Lightning
Dog Eat Dog
Bright Lights
Tonight
Lottery Land
With Loudon
Wainwright
Smokey Joe's
Cafe.
Encore
Beeswing
Wall Of Death.
(
Incomplete )
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Thompson's Spell is Never Broken .
Review from The Age
by Mike Daly.
RICHARD
THOMPSON is the principal reason why my guitar gently sleeps in the cupboard.
All right, its a lame excuse Ņ but a couple of hours exposure to the fretboard
artistry of the lanky London Scot is enough to convince any three-chord
fumbler to give up. On Wednesday night, with compatriot Danny Thompson
(no relation, they emphasise) on double bass ,Thompson gave one of the
most remarkable performances I have witnessed. The man would be a musical
phenomenon if he never sang a note. Yet in concert, his legendary instrumental
skills are complemented by bittersweet ballads and Celtic rock songs,
voiced in a resonant, haunting baritone. And he's a joker of the driest
kind.
The
intimate National Theatre auditorium was
ideal for this kind of all-acoustic night. Loudon Wainwright's laconic
opening set. In which black humor and interpersonal angst wrestled for
dominance, was at times like eavesdropping on a session between patient
and shrink. The American troubadour's slightly manic edge is designed
to keep you off balance, but he also road-tested some new songs in which
he lampooned the Prince of Wales and explored a London busker's life.
For spontaneity, he solicited requests, which were rewarded with favorites
such as the Swimming Song and Westchester
County .
Then
came the Thompson duo, with a full-on Instrumental flourish that had even
seasoned pickers mesmerized. An ice-breaking bar or two of Waltzing
Matilda cavorted briefly through a rapid-fire intro to Easy
There, Steady Now while tasty jazz blues solos were exchanged on
Al Bowlly's in Heaven there were polka demonstrations
in the comic Don't Sit on my Jimmy Shands
and an abundance of tragic ballads, of which When
the Spell is Broken and 1952 Vincent Black
Lightning (both requests) stood out Ņall the while accompanied
by rapid melodic fills and rhythmic motifs.
The
evening seemed to fly by. Which made the duo's potted version of Hamlet
highly appropriate. A luminous version of the classic Want
to See the Bright Lights Tonight and a new, politically conscious
song called Lottery Land were among the highlights
of the second hour before Wainwright retumed for a good-natured ensemble
encore of R&B (Smokey Joe's Caf and a dose
of Marty Robbins balladry. Richard Thompson re emerged for the fragile
Beeswing and signed off with a thrilling
Wall of Death .
Now, all over Melboume,
can be heard the sound of guitar cases closing with sad resignation.
This article by Terry Reilly also
appeared the week before the concert
He has
been called "the guitarist's guitarist" and "the songwriter's songwriter",
but London~born Richard Thompson insists he is an outsider in the music
business. Courtesy of his time with the ground-breaking British folk-rock
band Fairport Convention (1967-1971), the recording of six strong albums
with his former wife Linda Thompson (including Shoot Out the Llghts)
and a critically acciaimed solo career, Thompson has carved himself
a very happy niche "I'm in a fortunate position
on the edge of the music industry," he enthuses down the telephone
iine from his house in los Angeles. where the almost famous nimble fingers
have taken time out from some interior house painting. "l'm
not a part of the musical mainstream. Hooray! I've got a very supportive
record company (Capitol) who give me freedom." (famous
last words - Capitol have since dropped RT from their books
)
Backed
by former Pentangle double bassist Danny Thompson,
Richard Thompson is touring Australia for the second time with American
singer-songwriter and occasional tennis partner Loudon
Wainwright 111. "People think of Loudon
as a comedian, but he's one of the best serious songwriters around."
Serious songwriting is Thompson's beguiling craft, a subject recently
lauded on a various artists tribute album Beat
the Retreat: Songs by Richard Thompson. His dark tales of lovelorn
poignancy, suspicion and off beat desires are constructed around richly
textured canvases of vibrant electric~and acoustic rhythms. His current
album, the double You? Me? Us? (Capitol/Festival!
produced by Mitchell Froom and Chad Blake) truly reflects his trademark
urgently bleak narratives. The gentle chill of The
Ghost of You Walks, the lacerated vitriol of
Razor Dance and the seething betrayal of Put
It There, Pal are boiling cauldrons of deep passion.
Thompson
has worked closely with Froom , the likely pair's earnest collaborntions
peaking with the grammy-nominated Rumor and Sigh
(1991). And he admires the live, ex-perimenial rock'n roll approach
thc producer etched on Los Lobos's recent Colossal
Head. "Mitchell's production on the last
Los Lobos album was fantastic. We've always tried to avoid the cliches
of rock music and to record as fast and as live as possible."
What about the descriptton of Thompson as a bleak troubador whose poetry
pokes fun at human-kind? "That's a convenient
description." he scoffs. "I grew up listening to British Isles folk
music where every-body gets murdered and there's witchcraft, too. I
thought that was normal, but people in pop music see that as bleak.
But by probing the audience with subjects that are shghtly taboo. it
becomes interesting."
From
the time he formed Fairport Convention in London with Ashley Hutchings
and Slmon Nichol in the mid-'60s, Thompson wanted ostensibly to play
quality British and Celtic folk music. However, his first solo venture,
Henry the Human Fly (1972), he claims,
was a little over-the-top. "That was very experimental.
Not a great performance but interesting ideas." 'As British as
he makes his music, Thompson has reason to be doubly satisfied and tickled
at the chart-top-ping success of Jo-EI Sonnier's rendi-tion of Tear-Stained
Letter in 1990 and country diva Patty Loveless's lively shot last year.
"She did it so well," he chuckles. "For
a song with so much Cockney rhyming and slang the coun-try and western
gang have managed to make sense of it." But day~to~day life,
for Richard Thompson, it seems, is never as bleak as a tear stalned
missive. "I was just painting the hallway. I'll
go and stick the other coat on now."
2001
Australian tour reviews/interviews and photographs
Richard
Thompson photo gallery.
The
Richard Thompson pages .
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