Newsgroup: it.arti.musica.rock
Titolo: [lungo] Linda Thompson

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LINDA THOMPSON
Da casa Rounder, ritorna una delle vocalist folk più popolari di sempre.
Dagli album con l'ex marito Richard alle opere solo degli anni '80, Linda
Thompson ha dimostrato di essere una delle più belle e duttili voci del folk
inglese portando il genere a livelli di eccellenza anche al di fuori dei
cultori del genere. Il cast dei side-men è stellare, in tutto degno di tanta
voce.  Questo nuovo album è un clamoroso ritorno che ha già ottenuto i
massimi consensi della nostra stampa specializzata. Disco consigliato
bollino Buscadero!!
- Linda Thompson - Fashionably Late (Nel titolo per un ritorno! Non Credete?
Feat Teddy Thompson, Richard Thompson, Danny Thompson, Jeff Berman, Richard
Greene, Van Dyke Parks, Geraint Watkins, Jerry Donhaue, Dave Mattacks, Kate
Rusby, Dave Pegg, Martin Carthy!!)
http://www.rounder.com/feature/thompson/
Linda Thompson
Fashionably Late
When Linda Thompson retired from music, she left listeners assuming they'd
never hear from her again. But proving "you can't keep a good woman down,"
Linda returns in grand style on Fashionably Late, her first new album in 17
years. This remarkable comeback includes guest appearances by Rufus
Wainwright, Teddy Thompson, Kate Rusby, Eliza Carthy, John Doyle,
Van Dyke Parks, and Danny Thompson. Fashionably Late also features, for the
first time in 20 years, a musical reunion between Linda and Richard
Thompson.
"Linda Thompson may be rock's best woman singer." - Time Magazine
Fashionably Late will be included in Rolling Stone's "Top 50 Albums of 2003"
feature, with a paragraph on the record written by David Fricke. It will be
in the year-end, double issue (#912) hitting stands on Dec 6.
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
In 1985, Linda Thompson made a startling exit from the folk-rock music scene
she helped to invent. Her self-imposed banishment came in response to two
intractable realities: her divorce from the guitarist and songwriter Richard
Thompson, the scene's leading light, and a rare anxiety-based syndrome
called hysterical dysphonia, the vocalist's equivalent of merciless stage
fright. The durable beauty of her recordings with Richard has assured her
status as folk rock royalty for more than 20 years. Now she comes to reclaim
her territory.
Her aptly titled comeback is, of course, several years in the making, the
sustained vision of the artist and her producer, Edward Haber, who also
assembled the retrospective compilation of her work, Dreams Fly Away, in
1996. Chief concert recording engineer for WNYC, the New York outlet for
National Public Radio, Haber captures, rather than manufactures, sound.
There are no special effects here, no audio pyrotechnics. Just that voice,
and exquisite musicianship. Her dysphonia is under control these days; in
fact, she has appeared on stage in recent years with the Royal National
Theatre and with the avant popist David Thomas, of Pere Ubu fame. Her
children are grown - her middle child, Teddy Thompson, is a serenely gifted
musician in his own right, and on Fashionably Late, serves as her
extraordinary music partner.
She remains obsessed with the deep British folk music that she and her
circle reanimated with the electricity of rock and roll. Like all great folk
singers - Sandy Denny in particular, Richard's partner in Fairport
Convention in whose shadow she sometimes felt herself to stand - Linda
Thompson has an ancient voice, wilting, wounded and wise. She sings with the
conviction of an eyewitness of thieves, beggars, drunks, street urchins and
circus freaks, spurned lovers and murdering swine, centuries-gone.
The album's lead-off track, "Dear Mary" - co-authored with Teddy, sung with
Richard, Teddy and daughter, Kamila, and peppered with Richard's guitar
wizardry - delivers a knockout chorus in the unmistakable Thompson manner.
To hear Linda's voice in full flower again, after seventeen years of
silence, surrounded by her family, is proof positive you can go home again.
The song features their mid-register voices locked together, one of the
record's recurrent pleasures, also used to great effect when mother and son
trade verses on Lal Waterson's "Evona Darling".
Thompson's unalloyed passion for "hardcore" folk (her word) yields a
chilling re-invention of the "faux" Scottish murder ballad "Nine Stone Rig",
to which she added several verses; the murder and its aftermath are
recounted with stark, journalistic precision. "Banks of the Clyde", written
for her brother Brian, is likewise hardcore, only this time bittersweet, a
broken down woman's wish for home. "Paint &Powder Beauty", written with the
gifted young songwriter Rufus Wainwright, wanders farthest afield. A
stylish, theatrical, 40's-style ballad, the song takes a hard look at an
aging call girl from the buyer's point of view. The languid string
arrangement by Robert Kirby, who orchestrated Nick Drake's songbook,
features a viola solo with an ear to the singer's honeyed register. But the
heartwrecker is her own "No Telling", a composition written a cappella, as
she does, a love song that relates the redemptive power of a love song using
the medium as the message.
The musicians are first rate, chiefly acoustic guitarist John Doyle and
bassist Danny Thompson (no relation) in addition to son Teddy. Van Dyke
Parks guests on accordion and Hammond B-3 organ; Geoff Muldaur arranged
"Miss Murray" for Richard Greene's fiddle and Parks' accordion; there are
harmonies by Martha Wainwright and England's current folk princess, former
Poozie Kate Rusby. Trad punk fiddler Eliza Carthy lends her spirit to "Weary
Life", and Linda reunites with Eliza's father Martin Carthy (they made some
demos together in 1970). The album also features Fairport veterans Jerry
Donohue (solo on "All I See"), Dave Mattacks (drums) and Dave Pegg (acoustic
bass, mandolin). The last of the ten tracks, "Dear Old Man of Mine", is
another family affair, only this time the song is clearly about Richard and
performed in his absence, with Teddy handling the guitar and their youngest
child, Kamila, providing the harmony. Wisdom comes late, dashed dreams yield
to time; no hard feelings.
Linda Pettifer was born in London in 1948 to an ex-variety girl who called
herself Vera Love, daughter of a vaudevillian. Linda was 6 when the family
moved to a nice neighborhood in the notoriously rough city of Glasgow - her
mother's hometown - where her father opened a TV repair shop. Linda appeared
briefly in local folk clubs circa 1966, under the spell of "The Times They
Are A-Changing," then left in '67 to pursue a degree at London University.
Modern languages proved a tough discipline for a girl to maintain if she
seriously wanted to be a folk singer. She quit school after 4 months and hit
the coffee-houses full time, careful to conceal her day job as a jingle
singer from the purists.
She soon found her element, falling in with Sandy Denny, Richard Thompson,
Nick Drake, John Martyn, John Renbourn, and producer Joe Boyd. A sound was
born and passions ran high; there were various pairings, musical and
otherwise, accidents and deaths. The chronology is murky now, even to her.
With her marriage to Richard Thompson and the release of I Want To See The
Bright Lights Tonight, Linda's name became linked inextricably to her
husband's. She was keenly aware of the reverence for his previous muse,
Sandy Denny - a reverence she shared - and that gossip held that anyone
could shine given the great Richard Thompson's songs to sing. But the truth
was - and is - that she possesses a remarkable instrument. Certainly her
husband knew the spell she could cast and wrote a trove of darkly dramatic
songs for her: "Withered and Died," "Dimming of the Day," Walking on a
Wire," "For Shame of Doing Wrong," "A Heart Needs a Home." She sang them all
into the folk-rock lexicon with grace and authority.
Brilliant as the songs and performances were though, record sales were weak.
In that particularly cruel cultural ratio, the couple found themselves as
impoverished as they were critically acclaimed. Linda's performance
anxieties - present almost from the first but previously manageable - began
to deepen; her increasing ambivalence about their struggle only worsened her
condition. In awe of Richard and fearful of being eclipsed by Sandy, she
began to have trouble starting songs onstage, pacing and coughing, sizing up
the mic like an adversary.
Then Richard's abrupt conversion to Sufism in the mid-70's delivered them to
a squat in Maida Vale. Over several years of communal living, during some of
which time Richard was doctrinally forbidden to play, they released Pour
Down Like Silver, First Light and Sunnyvista, with their usual crew. Their
conversion was genuine, the revelations lasting, but daily life was very
hard on Linda; she secretly held on to their London apartment. Altogether
they made six records, two of them acknowledged masterpieces (notably, on
either side of their conversion); she bore three children and left him
twice. In the end Richard fell in love with his present wife, Nancy Covey,
and left Linda in May 1982, shortly after the birth of their third child and
on the verge of their first and only American tour, in support of Shoot Out
the Lights.
Ironically, Linda never sang better than she did on that roundhouse swing
through the States. She found herself, fueled with rage, wrecking hotel
rooms, kicking the unfaithful guitarist in the shins mid-solo, and singing
like an angel. "It was as if," Joe Boyd remembers, "Richard had written her
all these songs to sing when he left her." Time and Rolling Stone dubbed her
the female singer of the year.
She married Steve Kenis in the same year Richard married Nancy; both couples
remain together. In 1985 she released One Clear Moment, her first solo
recording, with seven of her own compositions. The title track can be heard
as a precursor to the grown-woman's rock that Bonnie Raitt was to distill
years later; another ballad, "Telling Me Lies" written with Betsy Cook, was
nominated for a Grammy in the Best Country Song category. Sales were
disappointing however, and by 1989 a formal diagnosis of hysterical
dysphonia had been made. The vocal condition was unresponsive to treatment,
medical or psychological; musically, she seemed finished. She raised her
children, traveled the world with her husband, became a partner in an
antique jewelry stall in Bond Street, did studio and theater work, enjoyed
some success as a songwriter. Now, with a new album and a new outlook, the
possibilities are wide-open. There will be an American tour in October ,
with Teddy opening each show ("I told him not to be too good"). She's
overwhelmed by the outpouring of affection she's experiencing, grateful to
be surrounded with "young and good-looking" people, her coppery pipes open
and clear.
top

 Rusby, Dave Pegg, Martin Carthy!!)
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