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REVIEW: ROCKOL.IT - RT ha il senso dello humour e ama le battute.
2/15/2013 (updated 2/15/2013)

Richard Thompson Electric

Chrome Translation:
From good English, Richard Thompson has a sense of humor and loves jokes. So, when to present the new album is about folk funk ("halfway between Judy Collins and Bootsy Collins") orpower trio Celtic ("a cross between Jimi Hendrix Experience and Peter, Paul and Mary"), you must take it serious but up to a certain point. Because in "Electric", fifteenth album in his career not to mention discs with Fairport Convention and those with ex-wife Linda, live shows and side projects, the premises may be misleading. Beginning with the title and the cover sparkling tell a partial truth (the last two songs in the lineup are two quiet acoustic ballads). The fact that it was recorded in Nashville, then, does not allow hard to imagine a country or Americana: although the airy waltz "Saving the good stuff for you" embroidered by violin master Stuart Duncan and the spectral folk song "The snow goose "beaded by the sweet voice of the princess bluegrass Alison Krauss touch the canons of the genre, it should be remembered that in the seventies, alone and with Linda, Richard sang Hank Williams and the Everly Brothers stressing the ethnic affinity between music and Appalachian folk and Anglo-Saxon, as well as between the two shores of the nation rock'n'roll.Who expected that the guitarist / producer Buddy Miller (Solomon Burke, Shawn Colvin, Robert Plant with Band Of Joy) could influence the stylistic choices should think again: designed specifically for the smaller size of a rock trio that represents a more flexible and from "commando" in his live band (with him drummer Michael Jerome and bassist Taras Prodaniuk), "Electric" is actually a classically hard and recognizably thompsoniano, which Miller, who in these things is a magician, gave ( as well as some intervention guitar) and a vibrating sound rough garage captured in four days of recording in his home studio equipped with sixteen tracks analog MCI.

In short, there is little of Collins, of Hendrix a little more. Although, as noted by Charlie Bermant on the site of No Depression, "Sally B" (portrait poisonous politics without scruples when someone wanted to see reflected Sarah Palin) sounds like "if Noel Redding and Hendrix was from Seattle Irish instead to the contrary "(Redding was born in Kent English, but the concept remains valid). E ', that is one of folk rock rough and gruff placed at the beginning of the program to reveal the concept and modus operandi of the trio: where the leader, guitar hero abnormal that does not waste a note putting each solo at the service of the song, unleashes sinusoidal electric six strings on tracks and steep stairs while his two companions talk about taking liberties that go beyond the role of ordinary jazz rhythm section rock (Jerome, in particular, is perhaps the best drummer that Thompson has ever had). Thompson's imagery is exquisitely British, not heated by the Music City in Tennessee or the sun of his home in the hills above Los Angeles California: landscape and is a wet and dreary, rainy Sundays spent in regret and nell'uggia a gray industrial city (a nostalgic and delicious "Salford Sunday"), exhausting shifts at the factory to curse their existence before a robot steals the job forever ("Stuck in the treadmill", the funkiest of all), while full of black British humor and also the story dell'arrapato toothless old man in "Stony Ground" drooling behind a widow without the consent of finishing beaten up (Thompson is a master storyteller in music, but this time seems to reveal something more of himself : to dietrologi the choice to decide how much autobiography is behind the verses of "Saving ..." and the sense of guilt for certain marriages sent upstream ...)

Material thompsoniano typically, however, as the pair of heartbreaking ballads that elevate the tone and the overall level of the disc: "My Enemy", where the delicate Siobhan Maher Kennedy, former River City People, counterpoint to the serious tone and baritone Richard, "Another small thing in her favor," a " instant classic "that will delight longtime fans even though almost everything, after so many years, refers to things already heard (the most unexpected way, is" straight and narrow "bouncy garage beat with organ riff like Farfisa which is a rarity in the catalog). Strategically placed in the middle of the sequence, the brilliant jingle jangle of "Good things happen to bad people", cornerstone and single throw, recalls the attitude of pop rock pieces or older as "Bathshebas smiles" (from "Mock Tudor", 1999) or "Big sun falling in the river" (from the previous "Dream attic", 2010). A sixty years Thompson proceeds by small variations progressive, reserving the most eccentric and original ideas to his side projects (the revisiting of history and fun of "1,000 years of popular music", the "folk oratorio" "Cabaret of Souls" published on CD just a few months ago: extracts from both are strangely included in the deluxe edition next four outtakes from session to nashvilliane home Miller). It does, however, with a force, an attitude, a sharpness and a hunger for music that does not know rest and to justify the latest in praise of the international press (Italy, as usual, latita). Others are born to die incendiary fire; disks Thompson (such as those of Neil Youngand a few others of that generation), however, there is still fire. There are still sparks, and electricity.

Alfredo Marziano, rockol.it

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