First Light (Richard and Linda Thompson album)
First Light is the fourth album by folk rock duo Richard and Linda Thompson. It was released in 1978 on Chrysalis Records After the release of their third album, Pour Down Like Silver, the Thompsons took an extended break from music, they spent much of the next three years living in sufi communes in Norfolk. This prolonged sabbatical was punctuated by occasional session work by Richard Thompson and a short tour in 1977 in which the duo performed new, overtly religious material and were backed by musicians who were practitioners of the Sufi faith. In 1978 Richard Thompson accepted an invitation from Joe Boyd to play on Julie Covington's eponymous solo debut album; the musicians hired for this album included regarded American session players Willie Weeks, Andy Newmark and Neil Larson, working in the studio with George Harrison. According to Boyd the three Americans were hugely impressed by Thompson's playing and expressed a wish to work with him. Boyd knew that Thompson had some new material and talked Thompson's manager Jo Lustig into taking advantage of the situation: "The material is there and these guys love Richard, they’re gonna kill to play with him.
It would be great."The resulting First Light was the fourth album by Richard and Linda Thompson and marked their resumption of their recording career. It is dominated by some of them direct translations of sufi and koranic texts. In years Thompson expressed dissatisfaction with his recorded output in the late 1970s: "The regrets I would have would be career stuff, I was too flaccid in the 1970s, I just wasn’t thinking enough to make a difference; the 70s, where I made indifferent records, I just didn’t have my mind on the job." All songs written by Richard Thompson.
13 Rivers is the eighteenth solo studio album by British singer/songwriter Richard Thompson. It was released on 14 September 2018 by New West Records in the US and by Proper in the UK. 13 Rivers was written after a period of difficulty for Thompson's family with songs that stick "close to a vision of darkness and noise". Thompson explains that the songs were written in a "fairly tight time period of about six months", giving them a sense of commonality, he states that "many of these songs came to him as a pleasant surprise and that feeling of grabbing the creative urge and running with it is what comes across throughout the running time". The album was self-produced by Thompson with the album and some minor overdubs being recorded on analogue equipment over a 10 day period; the album title derives from the song count, with Thompson explaining that "there are 13 songs on the record, each one is like a river. Some flow faster than others"; this is illustrated further by the album's internal artwork which features a map, "showing the individual songs on the album flowing into a central lake".
On Metacritic, which aggregates reviews from critics and assigns a normalised rating out of 100, 13 Rivers received a score of 81, based on 1 mixed and 6 positive reviews. The album received favourable reviews from the press, with it being described as "brilliant" and "engaging" by PopMatters who state that 13 Rivers is "a raw, unfiltered affair from a veteran artist who shows no signs of slowing down". Folk Radio UK call 13 Rivers "a toothy energetic album" and Uncut write that "13 Rivers is a sparse and noisy record"; the Irish Times agreed that "the tone is ominous from the get-go"" and Mojo write that "this may be Richard Thompson's most creative album in decades" describing the record as being "driven along by a renewed sense of urgency and purpose". NPR feel that the album has captured Thompson's live sound, explaining that "the live show is always spectacular, on 13 Rivers, Thompson more than manages to bring that live energy and those searing and soaring guitar solos to life in the studio".
AllMusic write that "Thompson's vocals are superb throughout" claiming that "13 Rivers is striking music from a musician who remains fresh and peerless". All tracks written by Richard Thompson "The Storm Won't Come" – 6:11 "The Rattle Within" – 3:06 "Her Love Was Meant for Me" – 5:01 "Bones of Gilead" – 4:21 "The Dog in You" – 4:54 "Trying" – 3:35 "Do All These Tears Belong to You?" – 4:13 "My Rock, My Rope" – 3:19 "You Can't Reach Me" – 3:58 "O, Cinderella" – 3:49 "No Matter" – 3:46 "Pride" – 3:17 "Shaking the Gates" – 4:00 Richard Thompson – vocals and keyboards Michael Jerome – drums and vocals Taras Prodaniuk – bass guitar and vocals Bobby Eichorn – guitar Siobhan Maher Kennedy – harmony vocal Judith Owen – harmony vocal on "No Matter" Zara Phillips – harmony vocal
Henry the Human Fly
Henry the Human Fly was the first solo album by British singer/songwriter/guitarist Richard Thompson. It was released in Britain in April 1972 on the Island label and in the US on the Reprise label. All songs written by Richard Thompson. "Roll Over Vaughn Williams" – 4:09 "Nobody’s Wedding" – 3:13 "The Poor Ditching Boy" – 3:01 "Shaky Nancy" – 3:26 "The Angels Took My Racehorse Away" – 4:01 "Wheely Down" – 3:00 "The New St. George" – 2:08 "Painted Ladies" – 3:31 "Cold Feet" – 2:26 "Mary and Joseph" – 1:38 "The Old Changing Way" – 3:55 "Twisted" – 1:58 Richard Thompson – guitar, accordion, tin whistle, mandolin Timi Donald – drums, vocals Pat Donaldson – bass guitar, vocals David Snell – harp Jeff Cole – trombone John Defereri – tenor saxophone Clay Toyani – trumpet Sue Draheim – fiddle Barry Dransfield – fiddle John Kirkpatrick – accordion Andy Roberts – Appalachian dulcimer Sandy Denny – piano, vocals Linda Peters – vocals Ashley Hutchings – vocals uncredited - harmonium, piano
Acoustic Classics is the fifteenth solo studio album by British singer/songwriter Richard Thompson. It was released by Beeswing Records via Proper Records on 21 July 2014 in the UK and 22 July 2014 in the USA. Acoustic Classics is an album of acoustic versions of songs from Thompson's back catalogue, both as a solo artist and as part of the folk rock duo Richard & Linda Thompson. Thompson states that the album "was conceived to be something to sell at acoustic shows" as he did not have anything available, "representative of a solo show"; the album includes his first solo studio version of "Persuasion,", available in a live recording and a studio duet with son Teddy Thompson. Thompson wrote the song with Tim Finn of Crowded House & Split Enz. Finn had a minor hit with the song when released as a solo single in 1993; the song was included on Finn's solo album Before & After released in 1993. "From Galway to Graceland" is a song about an Irish woman, convinced she is married to Elvis Presley and travels to Graceland to kneel by his grave before being ejected at closing time.
The album was released on digital download. According to the album credits, Thompson plays Lowden guitars on Acoustic Classics. An article in Acoustic quotes George Lowden as stating that Thompson has played such a guitar since the early 80's and that he built a signature model for Thompson out of cedar wood, based on the Lowden F model guitar, with ziricote wood for the back and sides and no position markers on the fingerboard. On the Metacritic website, which aggregates reviews from critics and assigns a normalised rating out of 100, Acoustic Classics received a score of 76, based on 1 mixed and 9 positive reviews; the album was reviewed, with critics giving positive comments. Martin Chilton in The Daily Telegraph states that the album is "full of interesting guitar flourishes and rhythms which bring an imaginative touch to classics" and that "you will still find much to enjoy listening to a master re-touch some of his best works". John Paul of PopMatters writes that "Acoustic Classics serves as a fitting showcase for not only Thompson’s undeniable skills as a virtuoso guitarist, but as a phenomenal songwriter capable of deftly tapping into a wealth of human emotions".
He states that the album "plays like an hour-long live performance stripped of crowd noise, giving it an intimate immediacy that draws in the listener and makes them feel as though this were a command performance for one". The Financial Times critic David Honigmann feels differently, writing in his review that "this attempt to capture the spirit of Thompson’s celebrated acoustic concerts is unexpectedly bloodless". Timothy Monger of AllMusic states that "it's a true pleasure to hear effortless command of the instrument as well as his rich, commanding baritone in the warm, unplugged format" and feels Acoustic Classics is an essential album for Thompson fans and British folk fans in general"; the Guardian review by Neil Spencer is more conservative, writing that "most of these pieces are best heard in original form" but does concede that "Thompson brings the experience of his years to bear on 14 dazzlingly good songs, singing more intensely while playing more nimbly". American Songwriter's Hal Horowitz writes that "these updated versions bring a newfound fire and/or subtlety" and comments that you can "relish these terrific songs played and sung by a master still at the top of his game and wise enough to realize he can improve on the originals."
Joe Breen writing in The Irish Times writes that "there has always been a tension in Thompson’s writing...here it sounds starker in this solitary performance" and that "the “live” performance seems naked without applause". Colin Irwin writes in Mojo that these versions of the songs "are scarcely comparable to the original band versions...but there's a certain magic in hearing the classics in such intimate form". He summarises by stating that "the rugged, bluesy quality of Thompson's voice can be appreciated". All tracks written by Richard Thompson except “Persuasion” by Thompson and Tim Finn Richard Thompson - guitars and vocals
The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening. According to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a flute player, flutist or, less fluter or flutenist. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found. A number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany; these flutes demonstrate that a developed musical tradition existed from the earliest period of modern human presence in Europe. The word flute first entered the English language during the Middle English period, as floute, or else flowte, flote from Old French flaute and from Old Provençal flaüt, or else from Old French fleüte, flaüte, flahute via Middle High German floite or Dutch fluit.
The English verb flout has the same linguistic root, the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced "phonologically impossible" or "inadmissable"; the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucer's The Hous of Fame, c.1380. Today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or a flute player. Flutist dates back to at least 1603, the earliest quotation cited by the Oxford English Dictionary. Flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist; the oldest flute discovered may be a fragment of the femur of a juvenile cave bear, with two to four holes, found at Divje Babe in Slovenia and dated to about 43,000 years ago.
However, this has been disputed. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, Germany; the five-holed flute is made from a vulture wing bone. The researchers involved in the discovery published their findings in the journal Nature, in August 2009; the discovery was the oldest confirmed find of any musical instrument in history, until a redating of flutes found in Geißenklösterle cave revealed them to be older with an age of 42,000 to 43,000 years. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels and a short distance from the oldest known human carving. On announcing the discovery, scientists suggested that the "finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe". Scientists have suggested that the discovery of the flute may help to explain "the probable behavioural and cognitive gulf between" Neanderthals and early modern human.
A three-holed flute, 18.7 cm long, made from a mammoth tusk was discovered in 2004, two flutes made from swan bones excavated a decade earlier are among the oldest known musical instruments. A playable 9,000-year-old Gudi was excavated from a tomb in Jiahu along with 29 defunct twins, made from the wing bones of red-crowned cranes with five to eight holes each, in the Central Chinese province of Henan; the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the Zhou Dynasty, it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flute's side instead of the top. Chi flutes are mentioned in Shi Jing and edited by Confucius, according to tradition; the earliest written reference to a flute is from a Sumerian-language cuneiform tablet dated to c. 2600–2700 BCE. Flutes are mentioned in a translated tablet of the Epic of Gilgamesh, an epic poem whose development spanned the period of 2100–600 BCE.
Additionally, a set of cuneiform tablets knows as the "musical texts" provide precise tuning instructions for seven scale of a stringed instrument. One of those scales is named embūbum, an Akkadian word for "flute"; the Bible, in Genesis 4:21, cites Jubal as being the "father of all those who play the ugab and the kinnor". The former Hebrew term is believed by some to refer to some wind instrument, or wind instruments in general, the latter to a stringed instrument, or stringed instruments in general; as such, Jubal is regarded in the Judeo-Christian tradition as the inventor of the flute. Elsewhere in the Bible, the flute is referred to as "chalil", in particular in 1 Samuel 10:5, 1 Kings 1:40, Isaiah 5:12 and 30:29, Jeremiah 48:36. Archeological digs in the Holy Land have discovered flutes from both the Bronze Age and the Iron Age, the latter era "witness the creation of the Israelite kingdom and its separation into the two kingdoms of Israel and Judea."Some early flutes were made out of tibias.
Sweet Warrior is the twelfth studio album by Richard Thompson, released in 2007. Thompson financed the recording of this album himself and licensed the finished album to various labels for distribution. On its release, Sweet Warrior entered Amazon.com's top 20 for music sales. The track "Dad's Gon na Kill Me" was given an advance release via iTunes; the song was singled out for praise by critics and featured prominently in Thompson's live performances in early 2007. This song's lyrics make extensive use of U. S. military slang, convey the thoughts and feelings of an uneasy U. S. soldier fighting in Iraq. It was subsequently used on the closing montage of the first episode of the third season of Sons of Anarchy; this advance release enjoyed airplay on several radio stations and attracted favourable comments from the press and advance publicity for the album. The album received favourable reviews. All songs written by Richard Thompson: "Needle and Thread" - 4:43 "I'll Never Give It Up " - 3:22 "Take Care the Road You Choose" - 6:44 "Mr. Stupid" - 3:53 "Dad's Gonna Kill Me" - 5:16 "Poppy-Red" - 4:37 "Bad Monkey" - 5:13 "Francesca" - 5:17 "Too Late to Come Fishing" - 4:36 "Sneaky Boy" - 2:59 "She Sang Angels to Rest" - 3:25 "Johnny's Far Away" - 4:53 "Guns Are the Tongues" - 7:27 "Sunset Song" - 5:38Bonus tracks on the P-Vine Records release for the Japanese market: "Any Old Body" "Dust and Wine" MusicalRichard Thompson - vocals, electric guitar, steel-string acoustic guitar, accordion, tin whistle, harmonium, hurdy-gurdy, electronic organ, handclaps Michael Hays - rhythm guitar, electric guitar, acoustic guitar, backing vocals Danny Thompson - double bass Taras Prodaniuk - electric bass guitar Michael Jerome - drums, percussion Judith Owen - backing vocals, handclaps Sara Watkins - fiddle Joe Sublett - tenor saxophone Joe Buck - first violin Al Michaels - second violin Novi Ola - viola Simon Tassano - handclaps Chris Kasych - handclaps TechnicalDoug Tyo - engineer Chris Kasych - assistant engineer Simon Tassano - mixing Jim Wilson - mastering Sources consultedOfficial credits pageEndnotes Official lyrics page
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en