“You can actually reinvent yourself in America, step off the plane, say ‘my name is whatever,’” says Teddy Thompson. Speaking more about New York City,
“You can actually reinvent yourself in America, step off the plane, say ‘my name is whatever,’” says Teddy Thompson. Speaking more about New York City, where the singer-songwriter has lived since moving there as a teen with his parents British folks singers Linda and Richard Thompson, the city also helped him fuse together his sixth studio album Heartbreaker Please (Thirty Tigers), out May 8, as he’s dissecting his own heartbreak, unraveling a portion of it on the album’s title track. Continue reading →
Special guest performers announced for Richard Thompson’s 70th Birthday bash at London’s Royal Albert Hall.
An incredible array of special guest performers has been announced for Richard Thompson’s 70th birthday celebration show at London’s Royal Albert Hall on September 30th 2019. This once in a lifetime concert will see eminent fellow musicians, friends and family grace the stage to mark the milestone birthday of this iconic and much-respected artist.
Joining Richard Thompson on an exceptional night will be: Alistair Anderson, Ashley Hutchings, Bob Mould, Christine Collister, Danny Thompson, Dave Mattacks, Dave Pegg, David Gilmour, Derek Smalls (formerly of the band formally known as Spinal Tap), Eliza Carthy, Hugh Cornwell, Jack Thompson, James Walbourne, Judith Owen, Kami Thompson, Kate Rusby, Linda Thompson, Loudon Wainwright III, Maddy Prior, Marc Ellington, Martin Carthy, Olivia Chaney, Simon Nicol, Teddy Thompson and Zara Phillips.
The show sold out swiftly when it was announced in April.
Richard Thompson’s enduring musical influence and accomplishments are unparalleled. Having co-founded the groundbreaking group Fairport Convention as a teenager in the 1960s, he and his bandmates invented a distinctive strain of British folk-rock. He left the group by the age of 21, followed by a decade long musical partnership with his then-wife Linda, to over 30 years as a highly successful solo artist. Thompson’s genre defying mastery of both acoustic and electric guitar along with engaging energy and onstage wit continue to earn him new fans and a place as one of the most distinctive virtuosos and writers in folk-rock history. Powered by evocative songcraft, jaw-dropping guitar playing, and indefinable spirit, this venerable icon holds a coveted spot on Rolling Stone’s “100 Greatest Guitarists of All Time” and counts Lifetime Achievement Awards from the Americana Music Association in Nashville and the UK Americana Music Association, a Lifetime Achievement Award from the BBC Folk Awards, a prestigious Ivor Novello Award and, of course, an OBE, among his many accolades.
A wide range of musicians have recorded Thompson’s songs including David Gilmour, Robert Plant, Elvis Costello, R.E.M., Sleater-Kinney, Del McCoury, Bonnie Raitt, Tom Jones, David Byrne, Don Henley, Los Lobos, and many more. His massive body of work includes many Grammy-nominated albums as well as numerous soundtracks, including Werner Herzog’s Grizzly Man. Thompson’s latest album 13 Rivers (Proper Records) was released to widespread acclaim last September and appeared on many 2018 ‘best of the year’ lists. His accompanying tour was met with glowing reviews, including The Observer, in its Artist of the Week spread, who concluded, “Half a century after his first gig with Fairport Convention, folk-rocker Richard Thompson – trademark Stratocaster and beret intact – is as cool, energetic and contemporary as ever.”
“Wall Of Death” puts quite a spin, literally and figuratively, on the idea of marriage as a wild ride.
There are many albums that are called “breakup” albums even though the biographical circumstances don’t quite ring true. Bob Dylan would remain married to wife Sara for several years after Blood On The Tracks, just as Bruce Sprinsgteen’s first marriage wouldn’t crumble for almost a full year after the release of Tunnel Of Love.
Still, the music on those albums seemed to reveal the fissures of those relationships, fissures that would eventually become irreparable cracks. So it was that Richard Thompson wrote the material for Shoot Out The Lights, released in 1982, a year prior to the actual dissolution of his marriage to Linda Thompson. And yet, as Linda eventually told Rolling Stone, “It was kind of a subliminal thing. I think we both were miserable and didn’t quite know how to get it out. I think that’s why the album is so good. We couldn’t talk to each other, so we just did it on the record.”
The structure on the album, which has come to be regarded as one of the finest of the ’80s, plays into that narrative, with Richard singing one song to seemingly give his side of the story, and Linda then answering with her own take. But it culminates in the two harmonizing on “Wall Of Death,” which, despite the ominous title, sends the album out on an almost celebratory note. For it suggests that a relationship brimming with vibrant emotions, even the negative ones, is preferable to one that grinds along amiably without the highs and lows.
In the world of carnivals, the Wall of Death is an attraction that features motorcycles wheeling around a silo-shaped structure, seeming to defy gravity because of the cylindrical force. Richard makes it a kind of metaphor for liberty: “On the Wall of Death, all the world is far from me,” he and Linda sing in the bridge. “On the Wall of Death, it’s the nearest to being free.”
A mid-tempo rocker with typically tough and lyrical lead guitar from Richard, “Wall Of Death” compares the titular ride to other popular attractions. “Well, you’re going nowhere when you ride on the carousel,” the pair sing in the second verse. “And maybe you’re strong, but what’s the use of ringing a bell.” Also: “The Tunnel of Love might amuse you/And Noah’s Ark might confuse you.”
The most dangerous rides might cause the most tumult but, ultimately, they’re the most invigorating, or so the song implies. “You can waste your time on the other rides,” they sing. “But this is the nearest to being alive.” If you are indeed going to read Shoot Out The Lights as a kind of meta commentary on a crumbling marriage, the last song suggests that there might be recriminations and rebuttals but ultimately there are no regrets.
Note also how the lyrics ask, “Let me ride on the Wall of Death one more time.” Looking at the song on its own, it seems the narrator just wants to go around again. But in the context of the entire album, that line could be read as two people indulging in this last queasy, yet thrilling, go-round before they move on. In any case, “Wall Of Death” puts quite a spin, literally and figuratively, on the idea of marriage as a wild ride.