Sad news that multi-instrumentalist Pete Zorn has passed away at the age of 65 after a battle with cancer.
I saw him several times as part of Richard Thompson's band and I constantly thought, is there any instrument this guy CAN'T play?
He will be sadly missed.
I have said it in earlier posts this year, but I really do believe that 2013 has been an exceptional year for new music. Consequently making my decisions as to the best (ie my favourite) albums of the year has been particularly difficult. For me the year began on a high note with the release of 'Lady From Shanghai' by Pere Ubu and 'Electric' by Richard Thompson. and my enjoyment of both albums was enhanced by seeing both of these acts live in the first half of the year.
You can read my thoughts on the Richard Thompson album here and on Pere Ubu here.
The prolific Nick Cave maintained his own high standards with 'Push The Sky Away' while David Bowie surprised everyone, myself included, by returning to the studios and treating us all to 'The Next Day' an album which quite rightly is appearing in many 'Best Of' lists this year. Another of my long time favourites, Steve Earle, took us on a tour of an American landscape with which he appeared to be less than enamoured. The result was 'The Low Highway'. Yet another favourite in the so-called Americana genre is Jason Isbell and he didn't disappoint with 'Southeastern'.
Last year the prize for White Room favourite went to Anais Mitchell for her marvellous album 'Young Man in America'. This year in collaboration with Jefferson Hamer, Ms Mitchell delved into the murky past of British folk music with a small sample of 'Child Ballads'. These songs have been performed and recorded by hundreds of artists, yet rarely I feel, with such beauty and tenderness.
I was intrigued to find out how Midlake would adapt to the loss of their lead singer and songwriter, Tim Smith. For me they have never been able to reproduce the brilliance of their second album, 'The Trials of Van Occupanther'. With 'Antiphon' they have delivered something of a slow burner which possibly explains why it has not made my top six. It is still working it's way into my psyche and is an album that I may find easier to evaluate in six months time.
There was obviously a huge amount of expectation (and hype) surrounding the release of 'Reflektor' by The Arcade Fire. They have now become one of the world's biggest bands, able to sell out large arenas at the drop of a hat. And perhaps for me, that is the problem as I have a tendency to drift away from acts as soon as they are on the brink of mega-stardom. Nevertheless I was eagerly anticipating this year's release and don't get me wrong, I have enjoyed the album. Yet, it doesn't quite hit the spot that their early releases did when I found them to be fresh and exciting. That might say more about me, but whatever the reason, they have not made it into the White Room top six.
Anyone who has been a regular or even an occasional reader of these pages will not have failed to notice that I am a HUGE fan of The Beatles. Yet, I have never been much of a fan of the solo work of Lennon, McCartney, Harrison or Starr. Paul McCartney has of course written some fine songs yet there has always been a side to his songwriting that I have found rather twee. This remains the case with his latest album 'New', however there is enough very good material for me to make the claim that I think this might just possibly be his best solo work ever. The number of people of his generation who can continue to write songs and produce albums of this standard, is sadly dwindling. Macca deserves credit for having the energy and the ability to produce this sort of stuff after 50 years (and counting).
Other 2013 albums which are also worthy of mention are:-
'None The Wiser' by Chris Wood
'Shout!' by Gov't Mule
'Til Yor River Runs Dry' by Eric Burdon
'Mount Moriah' by Mount Moriah
'MCII' by Mikal Cronin
'II' by Unknown Mortal Orchestra
'Magpie & The Dandelion' by The Avett Brothers
'Man & Myth' by Roy Harper
'Monomania' by Deerhunter
'Once I Was An Eagle' by Laura Marling
'The Terror' by The Flaming Lips.
Phew! I told you it had been a great year.
Still the White Room Top Six to be announced. Yes I did say SIX. These are the albums which for me deserve special mention this year. Watch this space.
Belatedly I wish to pay my respects to Louisa Jo Killen who sadly passed away on 9th August.
With a Celtic heritage, Louis was born and raised on the banks of the River Tyne in the north east of England. Absorbing the musical traditions of that region as well as Scotland and Ireland, he began singing in folk clubs and was instrumental in establishing the long running club at The Bridge Hotel in Newcastle where he played with the likes of Ewan MacColl and The High Level Ranters (The Bridge Hotel stands at the end of the High Level Bridge).
I first became aware of Killen through the LP record, 'The Iron Muse' on which he sang several traditional songs, most notably 'The Blackleg Miners' which makes mention of a couple of villages close to where I live - Seaton Delaval and Seghill. This song has since been covered by a number of artists including Steeleye Span and Richard Thompson.
As a singer and concertina player, Killen's career spanned over 40 years during which time he released over 40 LP's and CD's.
In recent years, Louis Killen achieved a lifelong desire and went through a gender change, becoming Louisa Jo Killen.
Her passing is being mourned in the folk world and I now find myself compelled to dig out my Topic Records anthology, 'Three Score and Ten' and play the powerful song, 'The Blackleg Miners'.
RIP Lou (10 January 1934 - 9 August 2013).
As another birthday slips by, I realise that we are once again midway through the year. So it seems a good time to quickly mention the albums that have most impressed me so far in 2013.
I have of course previously mentioned some of the best, such as:
- Pere Ubu - Lady From Shanghai
- Richard Thompson - Electric
- Villagers - {Awayland}
- Steven Wilson - The Raven That Refused to Sing
- Steve Earle - The Low Highway
- Hiss Golden Messenger - Haw
- These New Puritans - Field of Reeds
- Anais Mitchell & Jefferson Hamer - Child Ballads
Others that are contenders include 'Til Your River Runs Dry' by Eric Burdon who remains in very fine voice. Also a great return to form by David Bowie with 'The Next Day', 'Push the Sky Away' by Nick Cave & The Bad Seeds and the second album from Mount Moriah entitled 'Miracle Temple'.
I am also currently listening to 'Southeastern' by Jason Isbell and 'Once I Was an Eagle' by Laura Marling and I have little doubt that they will feature in my final decision at the end of the year.
All in all it has been a great year so far. And there are still another six months to go!
To promote his recent 'Electric' album, Richard Thompson took to the stage in Hall One of The Sage at Gateshead on Sunday 3 March.
Owing to a 'senior' moment, I nearly missed the gig. Having purchased my ticket some time ago, I had stored it away safely but entered the wrong date into my diary. Ooops! Thankfully while having a beer with friends last week, the subject came round to meeting up for a beer or two before the gig. I thought they were being a bit premature until someone put me right about the date.
As one would expect, the set list revolved around half a dozen songs from the current album mixed in with a few, to use Thompson's tongue-in-cheek phrase, 'old classics'. These included two old Richard & Linda songs, 'Wall of Death' and 'For Shame Of Doing Wrong' and an absolutely scorching version of 'Can't Win' from his 1988 album 'Amnesia'. Things then got a bit more jazzy with, 'Al Bowly's In Heaven'.
Throughout, Thompson was superbly supported by Michael Jerome on drums and Taras Prodaniuk on electric Fender bass and assorted facial expressions. (He looks like he could be a younger brother of Fabio Capello and/or Lou Reed).
Sadly, before we knew it, the band were taking their bows and leaving the stage. Of course, Thompson returned alone having traded his red and white Fender Strat for an acoustic guitar and we were treated to a mini acoustic solo set. This consisted of 'From Galway To Graceland' preceded by fans favourite (and mine), 'Beeswing'. I was struck by the fact that despite having seen Thompson many many times through the years, I don't think I have ever seen him perform that song. A great treat and Thompson made it all look so bloody easy!
He was then reunited with the band and his Stratocaster and made some comments about them yearning to be a power trio. You may recall me jokingly referring to them as a powerhouse trio when I wrote about the 'Electric' album back on 31 January and I facetiously suggested that they may be trying to do a Hendrix or a Cream. I was proved almost right when the band next launched into the opening guitar chords and familiar drum pattern of Cream's 'White Room'. As it happens to be one of my favourite songs (and provided the name for this blog), I was in my element. I never expected to see Richard Thompson play it though.
Finally the band closed with two rockers, 'Stony Ground' from the new album and another old favourite, 'Tear Stained Letter'. The band took their final bows and we happily left the building to the strains of Ringo singing 'Goodnight'.
And it was a good night!
At the end of last year I mentioned that I was looking forward to 'Electric' the forthcoming album from Richard Thompson. It has been two years since his last effort 'Dream Attic' which although being a new collection off songs, was recorded totally live with no studio overdubs. Whilst I can only admire the quality of the musicianship, I have to confess that the album is not among my favourites in the Richard Thompson collection. In truth, it is an album I have rarely returned to since its release in 2010.
I doubt that this will be the case with 'Electric' as Thompson has delivered a very strong guitar driven album with, as one would expect, great songs. Produced in Nashville by Buddy Miller, the band is essentially a trio (Thompson on guitar, Taras Prodaniuk on bass and Michael Jerome on drums) but the sound is brilliantly fleshed out by some guest musicians and vocalists. These include Alison Krauss, Siobhan Maher Kennedy and bluegrass fiddler, Stuart Duncan.
I understand that for the forthcoming tour to promote the album, Thompson will rely on the trio format. What's this? Richard Thompson leading a powerhouse trio of guitar, bass and drums? Is he trying to do a Cream or a Hendrix?
Well not exactly but he certainly rocks out on album opener 'Stony Ground' and on track three, 'Sally B'. Sandwiched between these is the more sedate 'Salford Sunday' which has a melody so sublime that Thompson uses this for his guitar parts also. The ballad 'My Enemy' sounds like it could almost be an early Kate Bush composition but I believe 'Another Small Thing in her Favour', could only have been written by Thompson. A beautiful melancholy ballad but with touches of Thompson's wry humour, it also features a spine tingling guitar solo. There are lots of styles thrown into this record ranging from folk to blues to good old rock 'n' roll but throughout Thompson plays superb guitar as always. It doesn't seem to matter what style he is playing, the result is always distinctively Richard Thompson. Buddy Miller claimed that he received a two week guitar lesson while Thompson camped out at his home during the recording of the album.
Alison Krauss lends her voice to the acoustic ballad 'The Snow Goose' before the album closes with the jaunty 'Saving The Good Stuff For You'.
Described by Thompson as folk-funk, this album certainly allows him and his band to stretch out into different styles. I think it's a winner and I look forward to hearing selections from it played live when I see them in March.
Plaudits must go to Free Reed records and music for coming up with some of the best box sets available in the folk music genre. Among the finest must be this 5 disc set from legendary singer/songwriter/guitarist, Richard Thompson.
Housed in a sturdy box, four of the CDs come in jewel cases and represent Thompson at his very best. One disc covers essential Richard Thompson as voted for by fans, friends and fellow musicians. Another features some lengthy improvisational workouts in a live setting. The third disc contains his version of songs by other artists, while the fourth disc has twenty songs by Thompson based upon real life events, real places and real people.
The final disc in the package comes in a mini replica album sleeve and contains fifteen real rarities. Unreleased songs drawing on live recordings, demos and studio out-takes spanning the period between 1971 and 2005. Add to all of this glorious music a superb 172 page book written and researched by Nigel Schofield, and you will realise what great value this package represents (the book alone sells separately for £12.99). Incidentally you also get a replica 1952 Vincent brochure. Fans of Richard Thompson will understand the significance of this.
Oh and I almost forgot to mention that as a purchaser of one of the first 5,000 of these sets, I also received a unique bonus CD drawing together Thompson contributions to Free Reed packages by other artists including Martin Carthy, Ashley Hutchings, Albion Country Band, Elvis Costello and of course, Fairport Convention.
You can read the full details of this wonderful set on the official Richard Thompson website, Beeswing. (http://www.richardthompson-music.com/boxedset.asp)
The package is still currently available from Amazon at £48.47.
Put it on your Christmas list.
