Richard Thompson (musician) - Wikipedia
Tab pict forRichard Thompson Thompson made his debut as a recording artist as a member of Fairport Convention in September Jet Plane And A Rocking Chair Live, 1 tablature chords Meet On The Ledge, 1 tablature chords. [PDF]Free Meet On The Ledge download Book "Meet on the Ledge" is a song by British folk rock band Fairport Convention. Thompson Played live with a capo on 2nd fret so really in Key of A (first chord E) D Em We used. Complete song listing of Fairport Convention on serii.info Ltd. Epitaph · Fat Wreck Chords · Hopeless Records · Jagjaguwar · Kill Rock Stars · Mobile Fidelity · Music On Vinyl · Mute . Shattering Live Experience (symonds On Sunday 9/2/69); . Meet On The Ledge; Song previews provided courtesy of iTunes.
Daring Adventures, with a rich sound, markedly different production and use of American session playerswas perceived by some as evidence of Thompson's increasing "Americanisation". Perhaps more significantly, the album continued the trend, begun with Across A Crowded Room, of Thompson's songs moving away from the seemingly personal material and towards the character sketches and narratives for which he has since become famous.
Froom and PolyGram had plans to target college and the growing "alternative" markets with Daring Adventures. Sales improved, but not substantially.
Polygram declined an option to renew the contract. In Fairport Convention reformed and recorded the album Gladys' Leap. Thompson did not rejoin Fairport, but he did contribute a song to the project and played guitar on another track on the album. Froom was retained as producer, and once again the album was recorded in Los Angeles with many of the same players that Froom had called upon for the Daring Adventures sessions.Meet on the Ledge - Richard Thompson/Fairport Convention fair use cover
In Thompson recorded Rumor and Sighhis second album for Capitol. Once again Froom produced. This album, particularly the acoustic guitar ballad " Vincent Black Lightning ," was hailed by critics and fans alike and greatly advanced Thompson's reputation as a leading traditional-style guitarist.
However, a shake-up at Capitol saw Hale Milgrim Thompson's champion and fan within the boardroom replaced by Garry Gersh. Thus, Thompson's next album Mirror Blue was held back for almost a year before being released. Thompson was awarded the Orville H.
Gibson Award for best acoustic guitar player in Their joint acoustic concert at St. Thompson took to the road to promote the album. He was joined by drummer Dave MattacksDanny Thompson no relation on double bass, and Pete Zorn on acoustic guitar, backing vocals, mandolin and various wind instruments.
Why Richard Thompson is keeping the faith | Music | The Guardian
This line-up toured with Thompson the following two years. Thompson continued recording for Capitol untilwhen Mock Tudor was recorded and released. His deal with Capitol was modified so that he could release and directly market limited-quantity, live recorded, not-for-retail albums.
The first of these was Live at Crawleyreleased in Thompson at the Cambridge Folk FestivalIn Thompson declined the option to renew his contract with Capitol.
Thompson's first two self-funded releases, 's The Old Kit Bag and 's Front Parlour Balladsdid well in the indie charts on both sides of the Atlantic. The album was licensed to different labels in different territories: In August of the same year Island released a live Richard and Linda Thompson album, compiled from recordings made during the November tour to promote the Pour Down Like Silver album.
Thompson continued releasing "official bootlegs" on his boutique label as an additional source of revenue — all live recordings. The aim was to record the new material in a live setting. The recording and touring band consisted of Thompson, Pete Zorn, acoustic guitar, flute, saxophone, mandolin, vocals ; Michael Jerome drums, vocalsTaras Prodaniukbass guitar, vocals ; and Joel Zifkinelectric violinmandolin, vocals.
The festival included a tribute to the recently deceased Kate McGarriglea feature of which was a rare on-stage reunion of Richard and Linda Thompson. The record enjoyed good reviews and debuted in the UK top Thompson took to the road with a stripped down " power trio " band on a multi-month tour on both sides of the Atlantic to promote the new album.
It is the second time the two have recorded together since Shoot Out the Lights, the other being the song "Dear Mary" on Linda's album Fashionably Late. The record reached number 16 on the UK Albums Chart. The album was produced by son Teddy Thompson and features ex-wife Linda Thompson, The Rails who are Thompson's daughter Kami Thompson and her husband James Walbourne, as well as other related musicians, including Walbourne's brother and Richard Thompson's son from his second marriage.
Thompson produced the record himself at Boulevard Recording in Los Angeles. During the same period he also worked on two collaborative projects. Morris On was recorded with Ashley HutchingsJohn KirkpatrickDave Mattacks and Barry Dransfield, and was a collection of English traditional tunes arranged for electric instruments.
The Bunch were almost the reverse conceptually — a grouping of English folk rock musicians including Sandy DennyLinda Peters and members of Fairport Convention recording a selection of classic rock and roll tunes. He has also performed and recorded with Teddy Thompsonhis son from his marriage to Linda Thompson. Thompson with Fairport Convention's Dave Pegg at Cropredy, Since the early s Thompson has appeared at Fairport Convention 's annual Cropredy Festivalboth in his own right and as a participant in sets with current and previous Fairport members.
Thompson has displayed a penchant for the avant garde as well, working with former Pere Ubu singer David Thomas 's grouping The Pedestrians on two albums in andrespectively. He has worked with experimental guitarist Henry Kaisermost notably as part of the ad hoc grouping French Frith Kaiser Thompson with whom he recorded two albums. In he worked with long-time friend and band member Danny Thompson to record a concept album Industry that dealt with the decline of British industry. A year later he worked with early music expert Philip Pickett on the acclaimed Bones of All Men which fused renaissance tunes with contemporary music.
In recent years Thompson has devised and toured his show Years of Popular Music. The inspiration for this came when Playboy asked Thompson and many other music industry figures in for their suggestions for the "top ten songs of the millennium".
Guessing that Playboy expected most people's lists to start at aroundThompson took the magazine at its word and presented a list of songs from the 11th century to the present day.
Perhaps not surprisingly, Playboy did not use his list, but the exercise gave him the idea for a show which takes a chronological trip through popular music across the ages. A typical performance would start with a medieval round, progress via a Purcell aria, Victorian music hall and Hoagy Carmichael and end with Thompson's take on the Britney Spears hit " Oops! I Did It Again ".
The score, which was recorded over a two-day period in Decemberbrought Thompson together with a group of improvisational musicians, mostly from the San Francisco Bay area ; video footage from the sessions was edited into a mini-documentary, In the Edges, which was included with the DVD release of Grizzly Man.
In Thompson was commissioned to write a piece for the International Society of Bassists in honour of Danny Thompson. This suite was eventually commercially released in late The 3-CD set Watching the Dark combines his better-known songs and previously unreleased live and studio tracks.
Action Packed is a compilation of tracks from his Capitol releases, plus three hard-to-find songs.
Finally, inthe independent label Free Reed released RT: The Life and Music of Richard Thompsona 5-CD box set consisting almost entirely of previously unreleased performances of songs from throughout Thompson's long career.
Playing style[ edit ] Thompson makes use of the "pick and fingers" technique sometimes referred to as " hybrid picking " where he plays bass notes and rhythm with a pick between his first finger and thumb, and adds melody and punctuation by plucking the treble strings with his fingers. This enables him to adapt traditional songs, as on Strict Tempo! Thompson occasionally makes use of a thumb-pick, playing in fingerstylethe most notable example being on the motorcycle ballad " Vincent Black Lightning.
He has made prominent use of Stratocasters, as he has a general preference for the sound of single coil pick-ups. When I started playing Fenders init was unfashionable because everyone in England was playing Gibsons and trying to get a big, fat sound like Eric Clapton had in Cream.
I just wanted a little more bite. Since leaving Fairport Convention he has continued to use electric guitars with single coil pick-ups, most famously a lates Stratocaster but also two custom built electrics by Danny Ferrington as well as other Stratocasters, various Telecaster -type guitars and, in the studio, a Danelectro U2.
Portentous polysyllables were a must: Fairport Convention was born. Within three months, largely on the strength of Thompson's other-worldly solos, they had a record deal and a touring contract.
Over the following three or four years, the band, which also came to include the fabulous singer Sandy Denny and the pact-with-the-devil fiddle player Dave Swarbrick, invented their own genre, moving away from American influences and attempting to reconnect with indigenous jigs and airs.
He remains devoted to the philosophy of that project, which has informed both his playing and his prodigious songwriting. Sometimes, as a culture, we pay more attention to imported styles. That was certainly the case in the last century, starting with minstrel music and ragtime and then jazz. All the romance and the mythology was coming from overseas. We wondered if there might be a way of reversing that a bit As a songwriter, Thompson has tended to explore the force of the statement that happiness is the least interesting of all human states.
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- Meet on the Ledge: The Classic Years 1967-1975
His doom-drenched epic "Meet on the Ledge", written intended to set the tone not only of the decade's end but also of his subsequent writing a darkness which seemed to deepen after he survived a car crash on the way home from a Fairport gig, in which his then girlfriend, Jeannie Franklyn, and the band's drummer, Martin Lamble, were killed. Just having to deal with death and losing friends was a difficult thing.
But even before that I just put down what I felt. And who wants to be thought of as fluffy? To the feelings that the audience doesn't know it has yet But then I stopped drinking in I saw a fork in the road and I thought, 'I'm not going down that one. He left Fairport and struck out on his own. There were one or two false starts. Thompson's first solo album, Henry the Human Fly, featured Thompson on the sleeve in a somewhat unnerving homemade fly costume.
It was not a commercial success.
Richard Thompson Tabs
It was only when he joined forces with the singer Linda Peters, who became his wife, that Thompson began to develop the full range of his lyricism. Some of that insight derived from a newfound spiritual direction. Thompson was raised a Presbyterian and though that never made any sense to him it did not stop him, in the spirit of his times, looking for answers. In all that, I thought the Sufis [the "mystical poets" of Islam] had the right balance and the right connection. And at exactly the moment I arrived at that thought I saw there was a Sufi meeting two minutes from our house in Hampstead, at a church hall in Belsize Park.
So I went down there and I'm looking round this circle of invocation and I realised I knew four of them, all musicians I had done session work with. And then there were all these gorgeous women and great food. So it seemed right Thompson's album Pour Down Like Silver features a photograph of him in a turban, his eyes alight with the zeal of the convert. He thinks for a moment. I wanted to say thanks for life and creation for being here and I didn't know how to do it.
Some people deal with it by expanding their ego. But in the past, musicians had gone through the tradesman's entrance of the castle and got fed the scraps from the kitchen; it's only our culture that has elevated musicians to heights and I wasn't sure then, and I'm not sure now, that it's a healthy thing.
I wanted to be a bit humbler about who I was. The intimations of that breakdown seemed to be contained in the songs he wrote in for what became his final — and best — album with Linda, Shoot Out the Lights.
By the time the album came out, Thompson had met his current wife Nancy Covey and Linda had given birth to their third child. Even though they were separating, Linda insisted on embarking on an infamous tour with her husband in which she sang songs that appeared to unpack his depression about their relationship.
By some accounts, Linda would sometimes take out her rage with Richard on stage it became known as the "kick in the shins" tour. Listening to some of that record now, lyrics like: Is that how he hears those songs?
Thompson flinches a bit when I suggest this. Sometimes songs I wrote for myself to sing, Linda ended up singing. Thing is, if I sing those songs now they don't take me back to that time. I sing those songs a lot, I've sung them 2, times. I think of other things He is not always shown in a favourable light And the question you have to ask is: Is it a good, honest song? If it is, then fine. I've talked to Linda about this.
At some point, the specific circumstances of its writing become diffuse and it stands on its own. That is what songs are — little capsules of emotion. Divorce was hard and horrible and gruesome on the kids.