Tag Archives: Mirror Blue

Richard Thompson – Electric – Review


I’m only reviewing the main album, but the box set is worth it if you’re as passionate about Richard Thompson as I am. Click to buy.

In this case, the cover says it all.

Richard Thompson is at the top or near the top of two of my mythical Favorites Lists. He’s my absolute favorite songwriter and he’s also one of the finest guitarists to ever put fingers to a fretboard. The cover of Electric tells you that this album is primarily a showcase for his guitar skills; if you’re looking for songwriting excellence up to his usual standards, you’re not going to find it here. The songs on Electric are vehicles for his guitar skills instead of remarkable displays of his lyrical talent.

I’m good with that. Among the many deficits in today’s music, one of the most glaring is that there are few artists out there who know how to play a fucking instrument. The mass of crap I listen to every New Release Tuesday shows that most contemporary artists have either delegated the task of instrumentation to software, or play predictable, catchy, recycled riffs designed to stimulate the limited aesthetic capabilities of the moronic sheep who flock to buy their new releases. With a very few exceptions, if you want to hear music crafted by sensitive human hands instead of indifferent algorithms, you have to look to the older folks: Sonny Landreth, Martin Barre and Richard Thompson.

Don’t get me started on today’s singers. Okay, I’m started! Today’s singers fall into three categories: those who can’t survive without auto-tune; guys who sing off-key in the low registers because women who rarely get laid have been programmed to find that sexy; and chicks with thin voices you can barely hear over the noise of the mix, a strategy that makes them sound unattainable and therefore more desirable. It’s obvious on Electric that Richard Thompson avoided the first two and is obviously incapable of emulating the third. Age has slightly diminished his vocal range, and at times you can hear him straining a teeny bit to hit the high notes.

I’m good with that, too. I’ll take real over fake any day.

This is a challenging album to review, which is why I’ve put it off for so long (it came out six months ago). The risk is that I might overstate the excellence of his guitar work because I’m hearing it in the context of a musical wasteland. When you’re horny, the homely one looks pretty damned hot when he or she is the only one available on a Saturday night. I finally decided that since I recognize that the songs themselves are not at the level of songs like “Beeswing,” “Cooksferry Queen” or “Hope You Like the Real Me,” I have retained my critical acumen and can forge ahead with an objective and measured response to the music.

The man is on fire!

The dynamics of this album become clear in the opening track, “Stony Ground.” The music is similar to “MGB-GT” from Mirror Blue. The lyrics, which tell the tale of a horny old bastard who thinks exclusively with his dick, are playful and certainly competent, but hardly represent his best work. But my fucking God, the guitar! Combining the bite of rock with flavors of British folk, blues and bagpipe, the counterpoints, fills and solos are to die for. The extended fade solo features playfulness with precision as his left hand dances over the fretboard while his right hand picks, plucks and dampens with amazing ease. He makes engaging complexity sound so effortless that I haven’t used my major stress releaser in weeks: my cheap-ass Strat with Pignose amp. While I’m pretty nimble on the flute, I’m a guitar klutz, and I primarily use the set-up to create noise, since that’s pretty much all I’m capable of doing. After listening to Electric, I feel rather silly and embarrassed, so I’m going to have to go back and listen to George Harrison’s clunky lead solos from the early Beatles albums to regain my confidence.

Re-reading that passage about my competence with the flute gave me some insight as to why I give better blow jobs than hand jobs. Apparently I have strong oral gratification needs that the flute satisfies but the guitar does not. Maybe if I did the Ronnie Wood/Keith Richard cigarette-in-the-mouth trick my guitar skills might improve.

Then again, maybe not. I’ve tried that with hand jobs but the guys always come in thirty seconds. Makes for a short evening.

Getting back to Richard, he displays his exceptional picking skills in “Salford Sunday.” He’s one of the few guitarists I know who is equally competent at acoustic and electric styles, which certainly pays dividends in this piece, where he plays his Fender in a more acoustic style. He also adds a touch of mandolin that brightens the mix, and his choice of Siobhan Maher Kennedy as his harmonic companion on vocals enhances the beauty of the piece. What I love about his guitar here is that he keeps it subtle and simple so as not to bury the lovely main riff and melodic line in a frivolous display of pyrotechnics.

“Sally B” is a tough song to figure. I don’t know which Sally B he’s talking about: a.) the skin care company; b.) the B-17 with the full nude on the fuselage; c.) a lady of unknown origins. There are indications that her politics or style will play well in the American south (“Now they talk way down south/Without moving their mouth/And the houses are old antebellum/There you’ll find supporters/Revolutionary daughters/Who’ll believe everything that you tell ’em.”) It’s all very intriguing, but what makes the song work is once again the guitar solo, this one a touch more avant-garde with out-of-scale explorations. Next comes “Stuck on the Treadmill,” a song with fairly pedestrian lyrics describing the working class cycle of economic dependence and unexpected job loss. Again, what matters is the guitar: here it’s more single string work with superb note attack that makes it fly. Both of these songs sound a bit muffled, indicating a commitment to avoid slick production values, but I think a touch more mid and high EQ might have cleaned things up a bit.

“My Enemy” features a fascinating melody with semi-operatic octave leaps and Siobhan’s excellent and subtle harmonizing. The lyrics don’t leap out at you with stunning metaphors, but the insight into human psychology is brilliant. Richard Thompson expresses the realization that the human need for opposites (championed by Blake and symbolized by yin and yang) can make for strange bedfellows when the need is distorted by competition:

Now we’re just two old men on the brink

Each waiting for the other to blink

If I should lose you, I’d be left with nothing but fate

As I see your life fall apart

I should smile but I don’t have the heart

At the end of the day, it’s still too much effort to hate

The most immediately accessible and catchy song on Electric is “Good Things Happen to Bad People.” The groove here is so compelling that you can ignore the simple lyrics just like you do with “Louie, Louie” or James Brown’s “I Feel Good.” The lyrics work with the music, and here that’s all that matters. The Rickenbacker-like tone he gets out of his Strat to open the piece is marvelous, but for the main solo, Richard flips the switch to get a more classic rock tone and gives us a ripping performance. Keep your eyes on his right hand while watching this fan video of a live performance; it’s a fabulous demonstration of the pick-and-fingers hybrid technique he does so well and I can only dream about:

Before I go any further, I feel the need to make a qualifying statement for those who are accustomed to “either/or” reviewers (fawning or sadistic). While Richard Thompson’s lyrics on Electric aren’t of the level of quality of much of his previous work, Richard Thompson on an off-day is a hundred times better than most. Here he’s chosen to simplify the lyrics and pay more attention to their sonic context than their depth.

I’m good with that.

Back to our story—-next up is the bittersweet but exceedingly lovely “Where’s Home?” This is a song that I strongly identify with, having been driven by the violent mindlessness of my home country to move to a place on the other side of where my values aren’t so far out of sync with the majority. The lyrics are even more applicable to my earlier departure from San Francisco, a city that has gone down the shithole in the pursuit of mindless wealth, health nazism and devaluation of the arts. I remember walking in my old stomping grounds on 24th Street in Noe Valley during one visit home and feeling the same sense of stranger-in-a-strange-land that Richard Thompson describes here:

I used to know this street

someone changed the name

signpost turned around

and nothing looks the same

but I belong somewhere,

I belong somewhere.

I guess that somewhere is Paris or Nice, and you’re probably saying, “Then what the hell does she have to bitch about?” The truth is I had a very strong attachment to my home and my city, and there will always be an empty place in my heart for what was. This song does make me tear up a bit, and while I know that all change involves loss, the loss part always sucks.

Acoustic guitar opens “Another Small Thing in Her Favour,” a vignette about a divorce or separation. This is one of the finer songs on the album in terms of lyrical quality and insight regarding the peculiar dynamics of human relationships. Richard Thompson has always been a master at sad and bitter irony, and he is spot-on here. Told from the male half’s perspective, the story makes you smile and feel the pain at the same time:

She said she felt bad

For the home that we had

And the effort I’d wasted to save her

She told me as much

As she slowly let out the clutch

That’s another small thing in her favour

And omigod the lead solo. Too brief! Too brief! The combination of sparkling runs and pizzicato bits is pure delight. Richard’s voice is particularly full and deep here; no one sings the sad song as well as he.

By contrast, “Straight and Narrow” sounds like a cross between Al Kooper and The Doors: straightforward sixties organ rock with a Richard Thompson touch. The sound here is also a bit muffled, making it sound more garage, like an old 45 without the scratches. The juxtaposition between “Another Small Thing in Her Favour” and “The Snow Goose” makes sense, because it serves to break up two contemplative numbers. “The Snow Goose” is pure acoustic, something I always look forward to on Richard Thompson records because he has a feel for the acoustic guitar that can’t be taught . . . the relationship is synergistic instead of man-using-tool. The imagery he chooses here stands in rough contrast to the softness of melody and accompaniment:

Northern winds will cut you

Northern girls will gut you

Leave you cold and empty

Like a fish on the slab

Allison Krauss does a nice job with the harmonic touches, but this is song is all about Richard Thompson’s voice and guitar, and the magic that combination creates.

Electric ends with a song driven by acoustic guitar, the reflective, country-tinged “Saving the Good Stuff for You.” The touch of fiddle from Stuart Duncan and the harmonies provided by Sioban give the song a definite bluegrass tinge, but the execution is much smoother than you find in typical bluegrass. The emotional dynamic of this song is exquisite, as it’s a dramatic monologue from a guy who has been an abusive loser all his life and has finally mellowed out now that his “old head is peppered with grey.”

Now I’m glad that you never did know me

When I was out of control

I was hollow right there in the middle

Some people get sucked in the hole

But I cut myself loose from the old ways

And you’re all that I’m clinging to

All the time oh I didn’t know it

I was saving the good stuff for you.

I wish we had heard from the lady in this couple to find out if this was a true turnaround or more bullshit from the black hole . . . the narrator’s continual recounting of his sins tells me he’s still messing up and seeking forgiveness from self and other. Even when he’s not dazzling you, Richard Thompson still has enough songwriting talent to engage and challenge the listener, as this last song clearly demonstrates.

Electric is now one of my favorite Richard Thompson albums because it is an absolutely delightful listening experience. Some of his other albums (Amnesia is a good example) feature songs that blow you away with the songwriting craftsmanship but also contain tunes where he gave it a good shot but fell short of excellence. The quality on Electric is much more consistent and the well-structured flow of the songs makes the experience intensely enjoyable. Any time you want to listen to a true guitar artisan at work, Electric is definitely one album you’re going to want to hear.

Richard Thompson – Mirror Blue – Classic Music Review

Unique among the recordings Richard Thompson has released in his solo career, the critics beat the hell out of Mirror Blue. “Not enough reverb!” they shouted. “Weird percussion!” they ranted. “Heavy-handed production!” they fumed.

When critics complain in unison, it’s frequently a clue that an artist is trying to do something different. Bob Dylan was slammed by folk purists for having the audacity to slip an electric guitar into his recordings. This silliness reminds us that critics are part of the human race and a sample of any cross-section of the human population will include arrogant anal-retentives.

Needless to say, I disagree violently with the consensus. Mirror Blue is my favorite Richard Thompson album for several reasons, but primarily because I love it when artists experiment with new ways of doing old things. Of course, it helps when the experiment is a success, and I believe that Mirror Blue is successful on many levels, especially in terms of the songwriting.

So, nyah, nyah and nanny-nanny-poo-poo to the critics! Mirror Blue rocks!

The album opens almost counter-intuitively with “For the Sake of Mary,” a sexy mid-tempo number with a great riff about human transformation and devotion with a musical mood of sexual and spiritual submission. That sounds rather abstract, but Richard Thompson is a master at making abstract feelings concrete:

In Needle Pete’s got my last tattoo
In bleeding letters of red and blue, for Mary

The upbeat number that one expects to open an album comes next with the delightfully playful, “I Can’t Wake Up to Save My Life,” featuring a kick-ass accordion (!) and a strong rhythm driven by that unusual percussion that the critics found so offensive. The song describes a nightmare involving meeting an old flame, highlighted by exceptionally vivid imagery and great humor:

Then the lightning streaks across the room
You smell like something fresh from the tomb
You squeeze too hard, you insist on kissing
When it seems like half your face is missing
And your hair’s turned into reptiles hissing

And I can’t wake up to save my life


“MGB-GT” opens with interlaced electric and acoustic guitar that sends me all atwitter, as does the passionate lead vocal on “The Way That It Shows.” The next song, “Easy There, Steady Now” features a fabulous arrangement with interlaced instrumentation over soft but steady cymbals and a stand-up bass. I love the way the acoustic guitar counterpoint provides continuity through the different sections of the song, and once again the lead vocal is spot on.

“King of Bohemia” is one of those songs that justifies June Tabor’s reference to the writer as “The Blessed Richard Thompson.” No one on earth is better at creating and performing songs strong enough to need nothing but acoustic guitar and voice. In the hands of other artists, this song would have been all gussied up with strings, ruining the simple beauty and subtracting the baseline passion from the lyrics:

Did your dreams die young? Were they too hard-won?
Did you reach too high and fall?
And there is no rest for the ones God blessed
And he blessed you best of all

“Shane and Dixie” is an upbeat song with a memorable chorus about a pair of two-bit crooks who can’t get their shit together, fall into violent argument and end up one member short. In contrast to those that God blessed in “King of Bohemia,” these are a pair that neither God nor anyone else has much use for. “Mingus Eyes” is another very sensual number with sharp guitar cuts, solid toms and an intricate mix of instrumentation. The narrator is a guy who tries to adopt a pose to get the girl, but never quite pulls it off:

I never had the squint of James Dean
Or the Stanislavsky tears
Or the rebel hunch that kills
Or the smile that slowly disappears

Richard Thompson is a superb guitarist, of course, a talent that sustains the next song, “I Ride in Your Slipstream.” Here the acoustic guitar is used with great discipline only to emphasize the passion beneath the narrator’s dark tension as he tries to communicate his love. Even better is the lovely guitar work on another masterpiece, “Beeswing,” the story of two ramblers who meet on the road and, driven by the woman’s lust for freedom, move together over land and through life until the expectations of relationships create shackles she can no longer abide. When the more practical man suggests settling down, she responds with unrestricted expression of her need for liberty:

She said “Oh man, you foolish man,
It surely sounds like hell,
You might be Lord of half the world,
You’ll not own me as well.”

Oh she was a rare thing, fine as a bee’s wing,
So fine a breath of wind might blow her away.
She was a lost child, oh, she was running wild,
She said, “As long as there’s no price on love, I’ll stay,
And you wouldn’t want me any other way.”

The very quirky tune “Fast Food” follows this gem (“Shove it in their faces, give ‘em what they want!”), a mélange of odd sounds and voices that always makes me laugh. “Mascara Tears” is a mid-tempo soul-rocker with a strong chorus and lead solo. Both pieces form a bridge between the more significant works, “Beeswing” and “Taking My Business Elsewhere.”’

Echoing the loneliness of his earlier masterpiece, “Waltzing’s for Dreamers,” the response of the narrator in this tale differs from “Waltzing” by responding to rejection with false bravado and self-loathing. “Waltzing” is more of a heartbreak song where the response is more philosophical and metaphoric; “Business” communicates more bitterness:

It wasn’t for me, that spark in her eyes
It wasn’t for me, that halo in her hair
When she touched me a lump rose up into my throat
But she must act that way with any old soak
And waiter, you don’t seem to share in the joke
So I’ll be taking my business elsewhere

I can go back through Richard Thompson’s discography from Fairport Convention to his later indie career and clearly identify the unifying thread: quality. He has always been an artist of unusual intensity and talent, and for me, Mirror Blue is an exceptional piece of work that vividly demonstrates his passion for music and his rare songwriting gifts. Critics be damned, Mirror Blue is one of his best.

%d bloggers like this: