Customer Reviews

Front Parlour Ballads

5 star:		(14)
4 star:		(6)
3 star:		(2)
2 star:		(9)
1 star:		(0)

 

 

If some disgruntled reviewers have compared this to a home demo, they're not too off the mark. This is Thompson's most stripped down release since the "nude" half of YOU?ME?US?. It's mostly just JT, his guitar & a sackful of tales.

The emphasis seems to be more on song & less on Thompson's virtuostic playing. Which will lead to some disappointment for those looking for the raging solos of SHOOT OUT THE LIGHTS. Though his trademark shredding has taken a backseat here, there are a fair share of brilliant moments on things like the brooding "My Soul". But Thompson has always proved himself to be a wickedly playful lyricist & PARLOR's acoustic approach provides the appropriate backdrop.

The catchy opener,"Let It Blow" cynically lampoons a nation's obsession with celebrity marriage. "Boys Of Mutton Street" praises the all-too-fleeting joys of gang violence. Though I might add, musically it's a bit reminiscent of "Vincent Black Lightning 1952".

"Miss Patsy" introduces us to a terrorist who's been "fighting shadows on the wrong crusade". Despite having 2nd thoughts after handed the cyanide pill, Thompson still damns his protagonist to "rot & pine away in a foreign prison". An interesting notion, considering Thompson converted to Islam in the 70's.

"Row Boys Row" questions the wisdom of "kneeling with your arse poking free" and the idyllic pleasures of misanthropy are recalled in " A Solitary Life". Finally, "Boys At School" closes the book with a chill.

Personally, I found this a lot more to my liking than OLD KIT BAG which just didn't grab me except for "Gesthemene". And though his albums since RUMOR & SIGH have had their share of irreplaceable gems, I always felt the production was a bit heavy handed. So I've been wanting to hear him strip things down like this for quite a while. Which is one of many reasons why FRONT PARLOR BALLADS has left me a very happy fan indeed.

With his remarkable acoustic performances, it's a wonder it took Thompson this long to release "Front Parlour Ballads" but I'm glad he did. Yes, he's tackled acoustic before ("You? Me? Us?" and a couple of other releases)but nothing with material this strong. In a remarkably consistent career, the material here is top notch and it ranks as one of his finest albums. The melodies shine here as does Thompson's rich baritone (although for many his voice can be an acquired taste). While low-key compared to his louder electric studio outings, "Front Parlour Ballads" still features the rich imagery and use of language that always makes his material better than just about everyone else's.

"Let it Blow" opens with a rollicking combination of acoustic (and electric guitar thrown in to accent the music if my ear doesn't deceive me) could easily become a radio hit with its catchy melody. While it may lack the immediate fireworks of "Rumour and Sigh" but makes up for that with amazingly assured songcraft and strong melodies. There's few songs I can think of here that would have benefited from a backing band and booming electric guitars and drums.

Thompson plays almost everything here and is accompanied by Deborah Dobkin on occasional percussion. Produced by Thompson in collaboration with Simon Tassano, "Front Parlour Ballads" benefits from the stripped down approach here. While I love many of the albums that Thompson made with producer Mitchell Froom, Froom's overly decorative production touches wouldn't fit here. Tassano and Thompson use the less is more approach not too dissimilar to the unadorned approach by producer Joe Boyd on some of Thompson's albums.

I live with a Fairport/Richard junkie, and I've had 6 years luxurious exposure to this music now. I love it, but I'm no expert. That said... Miss Patsy and a couple other elements of this album bring Steve Tilston to mind-- not just the spare guitar sound, but the bluesiness. When We Were Boys At School is classic Richard, boiling a bit of life down to the really sad reduction; the depressing reality, expressed so beautifully. This album is growing more captivating with each play, and is already one of my favorites. Acoustic Richard is the best.

Richard Thompson now sits comfortably on the fringe of the mainstream. His persistent and extremely loyal following pack theaters and purchase enough albums (even though he parted ways with a major label) to keep him afloat (he has said on his website that he makes a living but he's by no means "rolling in it"). Even so, Thompson doesn't follow a pattern. Every album has nuances and stylings that nearly distinguish one from another. One of the great things about Thompson is his unpredictablity. It keeps him exciting, new, and fresh even after releasing countless albums. "Formulaic" doesn't fit his ouevre to any degree.

So it's hardly a surprise that "Front Parlour Ballads" sounds not at all like 2003's fairly electric "Old Kit Bag". The largest similarity lies in the lyrical themes: painfully failed love (a Thompson mainstay), despair, violence, folk song morality, and the comical side of human self-destructiveness. But Thompson put away his electric guitar and his masterful solos for this one. Only acoustic guitars and minimal percussion accompany Thompson's lyrics throughout the album. Thompson said over a year ago that his next album would be an "all acoustic" album. He mostly kept that promise.

Consequently, this album contains more beautiful and bittersweet songs than rockers. And it contains some great ballads: The pining "For Whose Sake?" about a failed committment; "Old Thames Side" which explores obsession with beauty on the outside; "Should I Betray?" (from the woman's perspective) starring a married jerk that plays around with "fluff".

Nonetheless, upbeat and danceable moments do occur. "Let It Blow" starts off the album with a very catchy melody and a charming story about a marriage between self-obsessed people. No happy ending, of course. "A Solitary Life" picks up the pace after the very mellow "Precious One". It brings up another of Thompson's perennial themes: misanthropy; the kick up your heels "Miss Patsy" echoes somewhat the sound of "One Door Opens" from "Old Kit Bag". And then there's the somewhat misplaced "My Soul, My Soul". A full band treatment may have suited this one better. It seems to beg for drums, bass, a stronger backbeat, and a big sound. Perhaps he'll enhance this one electrically in concert? Apart from these songs, the album mostly contains slow, methodical, and stark songs. Put it on at a party? Probably not.

Those who like the harder side of Thompson probably won't appreciate "Front Parlour Ballads". A first listen may sound boring and empty, but many of the songs only reveal themselves after repeated listenings. Thompson crafted some beautiful melodies for this one. But like many of Thompson's songs they don't reach out and grab on a first listen. They slowly emerge.

In the end, this album doesn't represent Thompson at his absolute best. There are no extremely salient standouts here. Still, most Thompson fans will probably welcome it as a nice addition to his endless string of releases.

Richard Thompson has finally released a disc chockfull of up-tempo ditties about well-balanced, happy-go-lucky individuals!

OK, that's not right, but what we do have is our hero going just about as back to basics as you can. With minimal overdubbing and accompaniment, he serves up a baker's dozen of originals in acoustic format.

On the new Front Parlour Ballads, I think there are two perfect, truly excellent songs. "For Whose Sake?" chronicles a man doubting his choice in partner; although RT has mined this topic before, this also stands one of his simultaneously prettiest and most haunting arrangements yet. In the vein of "Shoot Out The Lights," "Killing Jar," or "Outside of the Inside," "When We Were Boys At School" introduces another scary individual, a picked-on classmate from years ago whom we would worry about if still living in the neighborhood. The faster songs, "Let It Blow" and "My Soul, My Soul," will rock out convincingly with a band.

There are other very good or merely good songs about a serial husband, a remorseful terrorist, gang violence, and various aspects of love and larceny. This is not the disc to give as an introduction to Richard Thompson, but for the fan it is essential.

By my count, this is Richard Thompson's twentieth studio release as a solo artist (or duo with former wife Linda), and like all of his other albums it is uniformly excellent. There is certainly a laid back feel to this release, but the 13 tracks contain Thompson's usual flair for poignant lyrics and impressive if understated guitar playing.

The album begins with the rollicking "Let It Blow." [Favorite line: "A life of volcanic activity/Left him nothing to spout but hot air."] Other uptempo numbers include "The Boys of Mutton Street," which recalls "1952 Vincent Black Lightning" with its folky acoustic fingerpicking; and the melanchalia of "A Solitary Life." [Favorite line: "You work on your pallor, complexion like paste/Like the grey defeat on an inmate's face."] Thompson also adds some mandolin flourishes to the jaunty "Miss Patsy."

The rest of the album falls loosely under the heading of brooding ballads with tracks like the haunting "My Soul, My Soul" and the remorseful "For Whose Sake?"

All told, this is a thoroughly satisfying album from arguably the greatest singer-songwriter-guitarist of our time. Why Richard Thompson has spent the better part of forty years without mainstream success simply shows the ignorance of the music-buying public. For those of us who enjoy finely crafted music, let's be grateful that he continues to follow his muse. [Running Time - 46:55] VERY HIGHLY RECOMMENDED

I am not a Richard Thompson sycophant, nor am I jaded fan who just wants this artist to stagnate and recreate his hits of the past. For someone who has been around so long, I am not surprised that old fans look at Thompson's album with a critical eye. They want to recapture a feeling they once had, and will never allow this artist to broaden his styles.

That said, this album is simply brilliant. Not "boring" at all. From the first song, "Let It Blow," the album captures a truly musical energy not found in popular music. In a just world, "Let it Blow" would be a hit song. But alas, the American musical ear is so often deaf to good music. After this first high-energy song, Thompson uses his guitar to express not only brilliant playing in various tunings and folk styles, but never forgets to challenge the listener with interesting stories and unique melodies.

I seldom hear an album that sounds "new". Thompson takes his music in new--and very satisfying--directions. This album is a keeper, especially for an acoustic guitar player wanting to broaden his or her playing to new horizons.

One of my favorite songs on this album is becoming "Solitary Life" which is an ironic commentary on single, unattached folk. It sounds like he plays it in a suspended banjo tuning. As you peel away the layers on this album, you will continue to find treasures and bits of wisdom on modern society. Sit back and enjoy the ride!

2005 has sure been a great year for fans of English singer-songwriter Richard Thompson. Two live DVD's, a live album, this fine collection and supposedly a new box set on the way.

This is the first mostly solo acoustic work that Thompson has released in ages. While he has toured solo numerous times over the years, he usually tosses in just a couple stripped down gems per release. Of course the second half of YOU, ME, US? was acoustic, but most of the songs featured full band arrangements. Like that album, FRONT PARLOUR BALLADS is a bit of a mixed bag. Don't get me wrong, a mixed bag from the likes of Richard is a magic bag from most other artists. This contains all the hallmarks that have marked Richard's career, deeply literate songwriting, biting wit and strong instrumental prowess.

If I can find fault here, it's that it's all basically solo acoustic, the songs don't stand out as on other "plugged in' releases. A song like KING OF BOHEMIA or SIGHTS AND SOUNDS OF LONDON TOWN to name a couple examples are thrown into relief by the electric fireworks that surround them on MIRROR BLUE and MOCK TUDOR. Here the songs LET IT BLOW and MY SOUL, MY SOUL stand out due to the extra light accompanyment that embellishes them.

Judging from the reviews it appears that this does not appeal to all the RT fans. While I would not call it a great CD, I'd say it falls firmly in the continium of quality that has marked Thompson's thirty plus year career. An overall solid effort with much to enjoy.

Muuchh better than the last one...not quite up to Mock Tudor, but a definite, leaps and bounds improvement over Old Kit Bag,which was, to paraphrase J. Lennon, "muzak to my ears"...RT is flexing his songwriting muscle a little more here...sharper, more focused melodies, more incisive lyrics that are, in these tunes, actually about something...

I don't mean to slag...far from actually. I'm a huge fan (just not of those that seem to haunt these pages, who think everything RT ever did is unfailingly brilliant,that he never recorded a bad song or hit a bum note, etc.), but I believe that, if you're honest, you have to acknowledge that there are definite peaks and valleys in his recorded output, especially of late. So, count this one a peak, and know that the stripped down, minimalist production serves this tasty batch of songs particularly well.

First of all, I'd like to say that the reviewer who compared the tracks on this CD to "outtakes from the Nude disc of You? Me? Us?" spoke quite disingenuously. The only comparison that can truly be made is that the tracks on both discs are acoustic; there, the comparisons part company. You? Me? Us? was produced by Mitchell Froom, who had a tendency to overproduce RT's music, which benefits from the stripped-down treatment Thompson himself gives it here. Froom would have been out of his element with Front Parlour Ballads.

Are these the absolute best of RT's career, these songs? That's for the listener to judge; personally, after just a few listens, I quite like them. "Let it Blow" is the wickedly funny tale of a serial husband who blows his own cover ("As she lay on the sand/He said "Isn't it grand?/I bring all of my wives to this spot!"), "Should I Betray?" has the protagonist pondering whether to tell a philandering friend's wife about his friend's reprehensible behaviour, "The Boys of Mutton Street" is about a young street gang of a bygone era (before drugs and guns), and "Miss Patsy" could easily pass for a traditional Appalachian folk song. Another reviewer speaks of the focus being on RT's songs, not his always-excellent playing, but you certainly can't miss his guitar work; technically brilliant without being flashy, melodic and even emotional without being overwrought, Thompson is my candidate for the best guitarist on the planet.

And here, Thompson also proves himself an able producer. There's not a wasted note or outright throwaway track on this CD; indeed, only bassist extraordinaire Danny Thompson (no relation) is truly conspicuous in his absence. Fortunately, he'll be with RT on RT's U.S. tour this fall; I myself have plans to see them in Albany, NY, on 21 Oct. Don't miss this album, or that tour.