Earlier this year CB sent me an email alerting me to the fact that Richard Thompson was going to perform, soon, in Madison, and recommending him to me. In fact I already had tickets—I am a huge Richard Thompson fan, and have seen him live about as often as I have seen Belle’s relative Loudon Wainwright, over the past 35 years. I went with my wife (who doesn’t like him much), and two friends, one of whom is a fan but had never seen him before, and the other of whom had no idea who he was. I hadn’t really thought about the dangers of taking someone who doesn’t know him to see him: what the effect of seeing him live before having heard any of his music would be. His son was the support act—lovely voice, ok songs—so that, in a way, made it worse. Because Thompson was, in fact, the best I have ever seen him: haunting, crisp voice, one acoustic guitar sounding like an orchestra, a perfectly designed set (occasionally the sets are slightly off, when he plays all-request shows, or picks an album name out of a hat, to show that he’s ready with every song he’s ever written—though I suspect that he doesn’t include Henry the Human Fly in the mix, since I don’t think I’ve ever heard him play a song from that, my favourite, album live). Simon Mayo, interviewing him on yesterday’s show (around 1 hr 06 mins), recalled seeing him playing solo, and drinking half a glass of water during a song without any apparent effect on the sound coming from the guitar. Anyway, at a certain point, I saw tears running down our friend’s face, and, at the end, she said “Why didn’t you tell me it was going to be like this?”. Imagine that you’d never heard of Richard Thompson, and the first time you heard 1952 Vincent Black Lightning was live, when he is at the top of his game. You’d weep.
His new album, Acoustic Classics, so-named because, well, it consists of acoustic re-recordings of some of his classics, is out today. It doesn’t have every song you’d want (“Al Bowly” is a particular, post HtHF, favourite of mine that’s missing, and one that he seemed extremely reluctant to play when it was requested at the live show). I think it contains the best versions of “Bright Lights”,”Beeswing” and “Shoot Out the Lights” I’ve heard. Fans won’t want to miss it; and non-fans could do worse than to start with it. But it is no substitute for seeing him live.
And here he is talking to Aggers about playing cricket in LA —plus about his songwriting process, which is very interesting. He turns out to be a Geoffrey Boycott fan (would it surprise anyone to know that I am too?—the batting, not the commentating I hasten to add), so Aggers introduces them at the end of the interview, and Boycott manages to open with an insult.