Richard Thompson Tears It Up On Two New Songs

One of the greatest living guitarists, Richard Thompson has shared two new brilliant songs from his just-announced album 13 Rivers.

I’m thrilled to have two new songs from one of our greatest living guitarists and songwriters, Richard Thompson. His just-announced 19th solo album, 13 Rivers, still finds him brimming with bursts of guitar magic and storytelling. It’s a trademark sound that has been incredibly influential since the days when he electrified British folk music in the 1960s as part of Fairport Convention and, later, some of the most brilliant records of the 1970s with his wife at the time Linda Thompson. But Richard Thompson is not stuck in any one era and his solo records continue to influence younger musicians with it’s deft playing and the way he spins a tale.

 

The two new songs today continue his tradition of turning life’s journey into song. “The Storm Won’t Come” tackles the desire for change and comes to the conclusion that you can’t hurry it. In an email, Richard Thompson wrote to say it’s “a song about change – out with the old, in with the new. In spite of your efforts, you cannot synthesize change, it is a natural process.”

The second song we have from 13 Rivers is a stuttering, fast-paced tune called “Bones of Gilead.” Richard Thompson says “this is about an impending crisis, but it’s a good crisis. It’s an uncomfortable process to go through, one you may barely survive, but it brings knowledge and growth and love.”

What’s my name? My name is heartbreak
Heartbreak of the giving kind
I will come and whisper sweetness
Sweetness that will dawn your mind
No rib cage can hold me
No loving cup
I don’t fit your wise world
I tear it up

And tear it up he does on these cuts and the other 11 on the 13 Rivers. The self-produced album was recorded and mixed by Clay Blair at Boulevard Recording, an old, famed studio in Hollywood. “It used to be Hollywood trendy, but it fell into total disrepair,” says Thompson. “It’s still got some gaps in the walls. I like studios that are honest. It’s about the décor of the sound, and there’s a specific sound to Boulevard.”

These songs were written at what Richard Thompson describes as a dark time in his life without being specific. These songs came “as if they’d been channeled from somewhere else. You find deeper meaning in the best records as time goes on. The reward comes later.”

13 Rivers will be out on New West Records September 14.

Source NPR: Richard Thompson Tears It Up On Two New Songs : All Songs Considered : NPR



Read more stories about RICHARD THOMPSON on The Hobbledehoy


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Sam Lee performs Lovely Molly and more

ANASTASIA TSIOULCAS | September 11, 2015

English vocalist Sam Lee has an amazing backstory: He found his way to singing professionally after stints as a naturalist and a burlesque dancer. But what really matters are his mesmerizing performances, as well as his incredible ability to connect with people — certainly with the audience in front of him, but also with the elders he’s sought out to learn these songs.

Lee has dedicated himself to preserving centuries-old folk songs of the U.K. and Ireland, particularly from “outsider” communities like the Roma (Gypsies) and the Scottish and Irish Travelers. But he and his bandmates — ukulele player and vocalist Jon Whitten, violinist and vocalist Flora Curzon, and percussionist and vocalist Josh Green — put these ancient songs in thoroughly 21st-century arrangements that feel creative, fresh and surprising, but also deeply human.

Above it all, Lee’s voice blazes through with strength, clarity and confidence. This is an artist who has found his destiny as a singer, a folk-song collector and a steward of stories, keeping them alive and relevant for a new generation.

Set List
“Over Yonders Hill”
“Lovely Molly'”
“Goodbye My Darling'”

Credits
Producers: Anastasia Tsioulcas, Morgan Walker; Audio Engineer: Suraya Mohamed, Josh Rogosin; Videographers: Morgan Walker, Lani Milton; Assistant Producer: Elena Saavedra Buckley; photo by Lydia Thompson/NPR

An Obscenity Filled Diatribe in Defense of Michelle Wolf – Broccoli Talks

This. Is. Excellent.
– Johnny Foreigner

I was waiting until my unbridled anger died down before I wrote about this Michelle Wolf nonsense, but it’s nearly 4pm on a Monday, and I’m still shaking from rage.

Of course, silly Kevin, it’s the new era. You’re basically Bruce Banner if Bruce Banner was always the Hulk and then just exploded one day.

In the interest of my mother, who has been begging me not to swear so much, I’m going to leave the implied obscenities just that—implied—and let you fill in with your favorite verbs. I like the one that starts with “F” but that’s just me.

Let’s begin, shall we?

In no particular order—

_____ Maggie Haberman for claiming Wolf attacked Sanders’ appearance and sticking by that claim even when proven wrong by, essentially, ALL of Twitter. It’s a little scary when a so-called journalist doubles down on a falsehood just because she doesn’t want to look stupid.

________Everyone who defended Sanders while conveniently not attacking her boss, the President, who, like the spineless weasel he is, let her go there and be mocked instead of going to take the jokes himself like every other ______-ing President has.

_______The people who are calling Sanders a “working mother” as if this administration trying to dismantle Planned Parenthood, fight equal pay for equal work, and normalize sexual assault in the workplace, will no have no affect on working mothers.

______Everyone who thinks calling a woman “Aunt Lydia” has anything to do with appearance and not agenda. And, coincidentally, if it was about appearance, what exactly are these people saying? That Ann Dowd is some bridge troll? Rude. She’s a lovely Emmy-award winning actress. So _____ you people.

_______Mika who was actually attacked by the President and yet seems to forget what an attack looks like, because she rushed to condemn Wolf like she or her Morning Joe co-star have any credibility after turning their show into _____-ing Love Connection for Talking Heads.

_______The WHCA for not standing by Wolf, who was THEIR choice in the first place. Did we all suddenly forget what the point of the dinner is? And was it really any worse than when Colbert lambasted George W. Bush for, you know, getting us into a war without any actual evidence? I guess that’s cool, because the comedian was a guy? I don’t know. No idea. I just know that we’re living in some awful _______-ing parallel reality where history is just something a bunch of liberals agreed to in order to make the other side look bad. And while we’re on the subject—

______NPR and all these other outlets doing “Conservatives Still Feel Disenfranchised” think-pieces. I guess owning ALL of government isn’t good enough for them, they want the _______-ing CULTURE too. Well, _____that. You’re not getting my culture. You can have the Senate, but I’m keeping Netflix and Iron Man, so go _____ yourself. The reason you still feel disenfranchised is because you’re on the wrong ____-ing side of history, and you can pout and whine and talk to the New York Times all you want, but at the end of the day, you’re still the bad guys in the movie and a hundred years from now your kids will be on some genealogy show wincing when they find out that their ancestors spent hours of time on Twitter trolling the Parkland survivors.

And finally, ______The media for letting corrupt politicians and their supporters hand them new narratives because they don’t like the ones they’ve been given. “Oh, you don’t like the whole Russia thing? Cool, what would you like us to talk about? Some comedienne going too hard on you? Sure, sounds good.” ______ off. ____ all the way off. Find off on a map and _____ all the way there.

Source: An Obscenity Filled Diatribe in Defense of Michelle Wolf – Broccoli Talks

This Is The Kit: Tiny Desk Concert

 

Effortless storytelling is at the heart of This Is The Kit. And the stories the band’s only permanent member, Kate Stables, weaves are profound but sweet with a tone that quietly reels you in.

“Bullet Proof” is the opening song at the Tiny Desk – and the opening track on her fourth album, Moonshine Freeze – a song that sees the darkest challenges in life as a way to begin again. “Everything we broke today/Needing breaking, anyway,” Kate Stables sings as she’s picking on her banjo with tides of percussion and bass flowing in. It takes two minutes before the perfectly punctuated guitar hits but completely worth the wait.

That gradual unfolding is the strength of these songs and this band. “Moonshine Freeze,” the last one they perform at the Tiny Desk, is the title track to the new album produced by John Parish. It’s a song taken from a children’s clapping game: Say “moonshine” three times, then freeze. But the song takes these images deeper, looking at patterns in the repetitive words, specifically patterns of three, which in Kate’s mind forms a triangle or a delta and it just gets deeper.

Lovers of Sufjan Stevens will appreciate the gentle ways Kate Stables can touch a heart with a song. And the band she plays with here is tightly in touch with how best to support these tunes.

Set List

  • “Bullet Proof”
  • “Hotter Colder”
  • “Moonshine Freeze”

MUSICIANS

Katherine Stables, Rosalind Leyden, Jamie Whitby-Coles, Noil Smith, Adam Schatz, Jonah Parzen-Johnson

CREDITS

Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Bronson Arcuri, Alyse Young; Production Assistant: Salvatore Maicki; Photo: Jennifer Kerrigan/NPR

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Source: This Is The Kit: Tiny Desk Concert

Leveret Will Lift Your Soul With Squeezeboxes : NPR

In the close-knit world of English folk music, Leveret boasts an impressive pedigree. The trio’s Andy Cutting is renowned for his mastery of the melodeon, a type of accordion with a push-pull mechanism for intonation that imbues it with a wheezy kick.

The band’s fiddler is Sam Sweeney, of the flamboyant nu-folk band Bellowhead, and its concertina player is Rob Harbron — both are deft and expressive musicians in their own right. (The concertina is yet another variety of squeezebox, a small hexagonal specimen with a pure, invigorating honk.)

Within its respective milieu, Leveret might be considered a supergroup were the term not anathema to the band’s entire ethos: introspective, understated, minimalist.That’s not to say that Leveret’s music lacks spunk [ . . . ]

Read more at: Leveret Will Lift Your Soul With Squeezeboxes : NPR