EMAIL THE BEEKEEPER
June/July Qs, Part I
9/22/2009 (updated 9/22/2009)

Why not follow Britney’s example, and just start miming? I promise not to watch your hands, honest. Andrew Wrigley

Are you sure I haven’t been?

I just watched the documentary, "Dreams with Sharp Teeth", and noticed that Richard Thompson was listed in the credits under music, composer, and performer. I had just a couple of questions. Which guitar or guitars did you play? Could I get the soundtrack? Thanks, Tim Fees

I used my Lowden RT signature model. The soundtrack is not yet available. ‘Harlan’s Bounce’, the main theme, is available on Catch Of The Day, if you scroll down a bit.

Catch of the Day: Harlan's Bounce.mp3

and also:

RT on Facebook


The new box set includes:
3. Don’t Let A Thief Steal Into Your Heart – Richard & Linda Thompson First Light
4. Strange Affair – Richard & Linda Thompson First Light
5. Sunnyvista – Richard & Linda Thompson Sunnyvista
6. Sisters – Richard & Linda Thompson Sunnyvista
7. Rockin’ In Rhythm Strict Tempo!

What is the current status, or future plans, for re-releasing "Strict Tempo!" album and other out-of-print albums on CD? I have been waiting in hopes of an official reissue instead of purchasing a copy used, or from an auction site, etc. Thanks, Brian Miller, New Hampshire, USA


We are still trying to locate masters of First Light and Sunnyvista. Strict Tempo is on the list of upcoming releases.

RE: Live Warrior-ing - Will you be returning to Portland, Oregon, USA soon? (2007's Warrior performance at the Aladdin Theatre was a smoker--emotionally shimmering and musically stunning. My jealous roomies have sworn oaths to join me next time!)

RE: Barbican ~ If you guys choose to perform Genesis Hall, any chance of you singing it (please)? It's a given any guest singers you have on hand will be lovely (especially Judy!) but I don't think anyone else could approach the intensity that you can yourself on this song. See you in July! Cheers and blessings, Tony Favazza, Portland, OR


Sorry this is a little after the fact – we hope to be back in the NorthWest next Spring. As it transpired, Teddy sang 'Genesisi Hall; at the Barbican, and did a great job.

I just got home after seeing you and the other talented people at the 1st annual LA Acoustic Music Festival. Thanks for helping to make that a success. I really hope they can keep it going. Your set was great, as always. You can be glad that you weren't on the program later in the evening. As the sun went down the wind off the ocean became very cold. Bruce Cockburn played his set in a parka and those of us who stayed to the end (a progressively smaller group for each song) were shivering in our seats or huddling together at the front of the stage.

But I digress. At one point in your set you made a rather tongue in cheek comment about the amount of preparation that went into you set, relating to the fact that you chose to do a song about the sea-going life because we were at the seashore. That got me thinking. This was a 45-minute one-off solo set without having to travel out of town. How much preparation does go into a performance like that? Dave Lindsey, San Diego, CA


I didn’t do a huge amount of prep for that, but I did notice the songs in the set seemed to be themed for the occasion, more by luck than judgment. Some shows – 'Cabaret of Souls', for instance – took a huge amount of preparation for a one-off performance. I did a solo show at Montalvo last year, on the theme of social unrest, protest, etc., which involved learning an entire new set. Most of the time, when I’m on tour, and there is a string of shows over a few weeks, I’ll adjust the repertoire a bit from night to night, depending on the room, the audience, the mood, the weather, and the requests (and the underwear).

One of the lesser-known projects you've done was The Marksman soundtrack for the BBC - never to my knowledge, released on CD but something I bought on vinyl. Nothing from it seems to have made the Shout! Factory box. What's the background to that project- and is there anything on it that deserves to be dusted-off?

I think that it was your first soundtrack, followed by Sweet Talker and Grizzly Man - plus the Hard Cash project (what's the background there - a soundtrack to an aborted programme/series?) and, I dimly recall, are-recording of Georgie on a Spree for a TV series. What is it that you find interesting about contributing to film projects.

S'pose to make this a sort of portmanteau question (Film, your music... what happening there then?) - how did you like the adaptation of your material in the Ya-Ya Sisterhood movie? Lucrative? Flattering? but not quite what you released). Alastair Thomson


I was really a junior partner to Pete Filleul on the Marksman. It was on vinyl, I don’t remember any other format. It was probably overlooked by the Shout Factory compilers. Maybe there is nothing of note on there – I haven’t heard it for some time. Hard Cash was to accompany a TV series about the minimum wage in Britain. The BBC pulled it under pressure from Mrs Thatcher. As a film/TV composer, you are a slave to picture, and you do whatever is necessary to further the overall project. When you get it right, it’s really rewarding. I thought the song placement in Ya Ya Sisterhood was very moving. Songs in film and on TV are one of the remaining lucrative areas now that CD sales are in decline, so everyone and his dog are beating down the doors of the music editors.

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