Richard Thompson: The Music Nerd's Guitar God

Welcome to my first blog post of 2011. This time round, I have decided to shine the spotlight on the great Richard Thompson.

In Nick Hornby's High Fidelity (required text for music dorks worldwide), the character Dick, in an effort to convert his new female friend in the ways of indie-boy fandom, describes Thompson as "England's finest guitarist". To music nerds like Dick, it is silly even to pause when asked who is the greatest guitarist of all time. While others will plum for one of the Jimmys or Clappers, Richard Thompson just seems to have a very special place in the hearts of many music fans' heart. He is the definition of the alternative guitar hero, the music boffin's choice.

The track above is one from the back catalogue of Fairport Convention, the band where Thompson made his first musical mark. He had grown up, during the 1950s, in a music-appreciative environment, soaking up his Scottish father's native folk ballads and bagpipe tunes, as well as his Django Reinhardt and Les Paul records. Thanks to his sisters, his ears were opened to the energetic sounds of Chuck Berry, Jerry Lee Lewis and Buddy Holly. Combined with a love of the new beat groups of the mid 1960s, young Thompson's precocious guitar style began to take shape. He formed a school covers band with future Stranglers' leader Hugh Cornwell, playing the hits of the day. However, his first serious musical exploits came when he joined the ranks of the fledgling Fairport Convention, a band whose musical outlook was very influenced by the West Coast sounds of The Byrds and Buffalo Springfield. Cover versions made up a big part of their early repertoire. Here is one of their first attempts at an English folk-rock sound.

This track comes from the group's second album, What We Did On Our Holidays, an album which marked the transition from the West Coast leanings of the group to a far more British folk influenced sound. Around this time, Richard began to refine his song-writing talent with tunes like Genesis Hall and Meet On The Ledge. Throughout this period also, Richard Thompson's exquisite guitar-work shone through, at time conjuring up the sounds of droning bagpipes and razor sharp fiddle, as well as the odd Django quote or James Burton twang. He is another track from Fairport's most celebrated work, Liege & Lief.

Thompson decided to leave Fairport in 1971, choosing to pursue a solo career and session work. He worked on albums for John Martyn, Sandy Denny and Nick Drake, as well as releasing the idiosyncratic solo debut, Henry The Human Fly. This album gave the world a first glimpse at Thompson skewed and humorous, yet sometimes bleak, world-view. However, while Thompson's first foray into solo territory was at best, misunderstood, or at worst, ignored, his musical partnership with his new wife, Linda Peters, would have critics and fans swooning for the next decade. Linda would become the voice for Richard's masterful tunes. Their debut, I Want To See The Bright Lights Tonight, was a classic, its songs full of stoical imagery, Victorian gloom and somber tales. This slightly pessimistic view of the world gave the Thompsons an ill-found reputation for miserabilism. On the contrary, their concerts from the period were noted for Linda's soulful vocals and Richard's capricious, off-the-cuff remarks, as well as some truly inspired guitar-work. Here is the legendary live version of The Calvary Cross, a vehicle for Richard's thrilling playing. Please, play this mother loud!

The Thompson released two more albums, Hokey Pokey and Pour Down Like Silver, both to universal praise. It was around this period that Richard and Linda convert to Sufism, a mystic-based branch of Islam. Many have speculated as to how much this religious conversion affected Thompson's writing output. What is clear though is that Thompson felt he and his young family needed to move away from the music industry for a period in the late 1970s. He and Linda would slowly re-emerged in the wider public's eye with two albums in the late 1970s, only to hit their creative highpoint with 1982's Shoot Out The Lights. Sadly, martial problems would come to the surface during the pair's US tour of the same year, with a divorce following. Shoot Out The Lights remains one of Richard Thompson's great achievements. Here is the closing track, Wall Of Death.

After parting ways with Linda, Richard released a string of solo records during the 1980s and early 1990s that showcased his growing songwriting talent and ever-inspired guitar playing. Many classic Thompson tunes come from this period, She Twists The Knife Again, Tear Stained Letter, Waltzing's For Dreamers, Al Bowlly's In Heaven and many others. Here is Thompson's most requested number in recent years, from 1991's Rumor And Sigh.

As Thompson continued to produce great music in the 1990s and 2000s, he began to move further away from the mainstream. He now, instead of being contracted to a big record label, produces his own work and licenses it to small independents for distribution. He boasts an extremely dedicated following who follow their hero's output closely. His songwriting seems to get better and better with every release. Here is a belter of a track from Richard's 2007 album, Sweet Warrior, detailing the plight of a US soldier in Iraq.

One of Richard's more unusual and rewarding projects of the last decade is his 1000 Years Of Popular Music stage-show. Prompted by the turn-of-the-millennium fascination with documenting the greatest songs ever written, Thompson set out to chart the evolution of the popular song form throughout the centuries in an entertaining show. In each show, he includes material such as fugal tunes from medieval monks, Renaissance dances, Gilbert & Sullivan operetta songs, Victorian Music Hall, jazz standards, country & western songs, rock 'n' roll jukebox hits, even the odd Britney Spears classic.

My love for Richard's playing grows with ever new tune of his I hear. The man seems to be a bottomless pit of inspiring licks, jaw-dropping solos and consistently great songwriting. His guitar style is true unique, and very rarely strays into the blues-box cliches of other players. The main characteristic of Richard's style is his use of hybrid picking, a combination of pick and fingers to construct highly technical licks and riffs. He uses this technique for both electric to acoustic work. His electric tone is sharp, spiky, clear and jagged, while his acoustic tone is round, plummy and warm. He can enliven the most basic folk tune with a flurry of diverse licks that will leave any guitar-lover breathless. He is a pure musician, taking innumerable influences from many different sources and distilling them into a truly individual style. He remains a wondrous musical talent, hopefully with many years of rippin' solos left in him. Just like this one from his latest offering, Dream Attic.

Recommended Listening: Richard & Linda Thompson - I Want To See The Bright Lights Tonight
 http://allmusic.com/album/i-want-to-see-the-bright-lights-tonight-r20101

Some Choice Thompson Tunes: She Twists The Knife Again (Across a Crowded Room), The Money Shuffle (Dream Attic), Waltzing's For Dreamers (Amnesia)

Underground Rock Warriors, Pt. 1: J Mascis

This week's post is courtesy of a suggestion by my little brother Stephen. Being the alt rock fan that he is, he has gone for Dinosaur Jr's head honcho J Mascis.



Joseph Mascis is a native of the small college town Amherst, Massachusetts. In the early 1980s, he became exposed to the underground sounds of hardcore punk. Bands like Minor Threat and Black Flag would pass through town, inspiring young musicians to start their own hardcore groups. Mascis was no different. He and a few high school buddies formed Deep Wound. Initially he was a drummer, an instrument he would return to intermittently over the years. As Deep Wound petered out, Mascis and fellow bandmate Lou Barlow started Dinosaur. This band would combine the uncompromising sound of hardcore, with the classic structures of 70s rock, as well as the chiming dissonance of New Wavers like Joy Division, The Birthday Party and The Cure. This attention to the classic forms of writing and love of a good guitar solo allowed Dinosaur to really stand out from the crowd of noise-merchants emerging from the U.S. underground scene. The group produced three great albums before founding member Barlow left in 1989. Dinosaur continued for a few more albums before disappearing in the mid 1990s. Barlow's presence seemed to have act as the friction J needed and allowed him to produce his best work, dealing as it does with frustration and non-communication. Before Barlow left, Dinosaur released this absolute stomper on their Bug album, which perfectly distilled their sound into 3 and a half gloriously noisy minutes.

As I said before, J Mascis started out as a drummer, coming to the guitar relatively late. However, he quickly developed a highly personal style, mixing the classic rock playing of Neil Young, Tony Iommi and Jimi Hendrix with the drone style of 80s New Wavers Robert Smith and Bernard Sumner. His sound was a full-on feral blast of squalling feedback and virtuosic outbursts of Jazzmaster lead, perfectly summed up with the phrase "ear-bleeding country". He also had the knack for composing a catchy alt rock anthem. Here is one of the best.

J has lend his instantly recognisable sound to a variety of other projects in recent years. He has recorded with his solo project The Fog and drummed with metalheads Witch. Sonic Youth, Mike Watt of Minutemen, Broken Social Scene and The Hold Steady have all requested his services. He even got the old band back together, touring festivals and releasing great albums like the 1990s never happened. Mascis is the prototype for underground guitar hero, balancing unhinged lead work with a love of uncompromising punky riffage. He ccontinues to be a vital presence in today's music scene, creating great tunes in the process. This final track is from one of the Dinosaur reunion albums, 2007's Beyond.

Recommend Listening: You're Living All Over Me (Dinosaur Jr.)
http://allmusic.com/cg/amg.dll?p=amg&sql=10:wzftxqesldse
Some Key Dinosaur Cuts: Sludgefeast (You're Living All Over Me), Start Choppin' (Where You Been), Feel The Pain (Without A Sound)

Bill Frisell: Mr. Atmospherics

One of the things I adore about music is the way it can alter one's mood in an instant and take your brain on a trip to who knows where. Some musicians have this ability to conjure up a time or place in a listener's mind with the merest stroke of their instrument. Bill Frisell is such a player. That is not to say he is just provides background mood muzak for the weary yuppie. Rather his elegant playing is an evocative presence in whatever setting he appears, creating wonderful pictures for the listener. While he is considered a jazz artist, he is the consummate musician, able to turn his hand to any genre you could care to name. However, his signature ethereal sound remains constant. Once you listen to a bit of Bill Frisell, you can pick him out in a plethora of musical situations. For starters, let us hear one of his best themes, Poem For Eva.

Bill Frisell began his musical life playing clarinet in his high school band. He took up the guitar in his early teens, quickly developing a love of the jazz playing of Wes Montgomery and Kenny Burrell, as well as psychedelic rockers like Jimi Hendrix. His musical career did not really kick start until the early 1980s when he joined the legendary European jazz label, ECM Records. This company, synonymous with progressive, crisply-recorded jazz, proved a fertile training ground for Frisell's early avant-garde leanings. As well as producing some solo albums, he played on sessions for the likes of saxophonist Jan Garbarek, drummer Paul Motian and bassist Eberhard Weber. He also played far-out noise rock with the saxophonist John Zorn in the band Naked City. He is a sample of them live. All I will say is that it may not to be everyone's taste.

In the early 1990s, Bill Frisell released a string of albums exploring his fascination with the American popular song of all shapes and sizes. On albums like Have A Little Faith, Nashville and Ghost Town, Frisell, as well as presenting his own eclectic compositions, interpreted classic American tunes from a wide variety of genres. These include tunes by Hank Williams, Thelonious Monk, George Gershwin, Sam Cooke, Bob Dylan, Aaron Copland and Madonna. He also began to incorporate traditional country, folk and bluegrass licks into his graceful jazz style with seamless effort. A great example of Frisell's uniquely fresh take on the pop song is this number, from The Wizard Of Oz, taken from Elvis Costello's Spectacle TV show.

His use of effect processors is worth noting here. With an array of reverb, delay, modulation and fuzz pedals at his feet, Frisell can go from pure bebop tone, to Byrds-esque jangle, to pedal steel-like twang to harsh heavy metal distortion at the flick of a switch, sometimes all within the same song. Whatever the setting, Frisell has a sound to go with it. Here is a perfect example of his use of colour in sound. This is his tribute to the celebrated jazz bassist, Ron Carter.

While he has produced several fine albums himself, he continues to add his stately playing to records by many legendary figures in all musical walks of life. As mentioned above, Elvis Costello has employed him for numerous musical projects, including The Sweetest Punch, an interpretation of material Costello composed with Burt Bacharach for the album Painted From Memory. He has lent his talents to recordings by Paul Simon, Marianne Faithfull, Rickie Lee Jones and soprano Renée Fleming. He has contributed to the soundtracks of movies like Finding Forrester and Million Dollar Hotel. Here is Frisell at his ambient best.

As you can see, Bill Frisell can and has turned his hand to a glut of varied projects over the years. While he has built a reputation as an artful impressionist on guitar, he is also swinging, harmonically fluent jazz player when the occasion warrants. Hopefully, his effervescent sound will continue to float across the musical landscape for many years to come.

Recommend Listening: Have A Little Faith (1992)
http://allmusic.com/cg/amg.dll?p=amg&sql=10:0vfexqygldfe
Some Key Frisell Cuts: Just Like A Woman (Have a Little Faith), A Change Is Gonna Come (History Mystery), Go Jake (Nashville).