Acoustic Classics II
Acoustic Classics II is the seventeenth solo studio album by British singer/songwriter Richard Thompson. It was released by Beeswing Records on 10 August 2017. Acoustic Classics II is the second acoustic compilation album by Richard Thompson; the songs range from his time in Fairport Convention, as half of a duo with Linda Thompson and as a solo artist. The album was released on CD and digital download. On the Metacritic website, which aggregates reviews from critics and assigns a normalised rating out of 100, Acoustic Classics II received a score of 78, based on 1 mixed and 4 positive reviews. Among the critics that gave the album positive reviews, Uncut called the album "an unalloyed treat" adding that "there's something fundamentally satisfying about Thompson unplugged". Andy Gill writing in The Independent states that "there’s no dip in quality here as Richard Thompson revisits material" and Folk Radio UK call the album "one to treasure". David Honigman of TheFinancial Times writes that "this second volume Richard Thompson has recorded of acoustic cover versions of his own songs works better than the first" and Jude Rogers in The Guardian praises Thompson's "authoritative, confident voice" and "pearl-bright guitar-playing".
All tracks written by Richard Thompson except “Crazy Man Michael” by Thompson and Dave Swarbrick Richard Thompson - guitars and vocals
Steel-string acoustic guitar
The steel-string acoustic guitar is a modern form of guitar that descends from the nylon-strung classical guitar, but is strung with steel strings for a brighter, louder sound. Like the classical guitar, it is referred to as an acoustic guitar; the most common type is called a flat top guitar, to distinguish it from the more specialized archtop guitar and other variations. The standard tuning for an acoustic guitar is E-A-D-G-B-E, although many players fingerpickers, use alternate tunings, such as open G, open D, or drop D. Steel-string guitars vary in construction and materials. Different woods and approach to bracing affect the instrument's tone. Many players and luthiers believe. Decrease in the content of hemicellulose, crystallization of cellulose, changes to lignin over time all result in its wood gaining better resonating properties. Steel-string acoustic guitars are constructed in several body types, varying in size and proportion. In general, the guitar's soundbox can be thought of as composed of two mating chambers: the upper bouts on the neck end of the body, lower bouts.
These meet at the narrowest part of the body face near the soundhole. The proportion and overall size of these two parts helps determine the overall tonal balance and "native sound" of a particular body style – the larger the body, the louder the volume; the 00, double-O or grand concert body type is the major body style most directly derived from the classical guitar. It has the thinnest soundbox and the smallest overall size, making it comfortable to play but lacking in projection -volume - relative to the larger types, its smaller size makes it suitable for smaller-framed players. It is called a "parlor steel", as it is well-suited to smaller rooms. Martin's 00-xxx series and Taylor's x12 series are common examples; the grand auditorium guitar, sometimes called the 000 or the triple-O is similar in design to the grand concert, but wider and deeper. Many 000-style guitars have a convex back to increase the physical volume of the soundbox without making it deeper at the edges, which would affect comfort and playability.
The result is a balanced tone, comparable to the 00 but with greater volume and dynamic range and more low-end response, making this Classically shaped body style popular. Eric Clapton's signature Martin, for example, is of this style. Martin's 000-xxx series and Taylor's x14 series are well-known examples of the grand auditorium style; the dreadnought is a large-bodied guitar which incorporates a deeper soundbox, but a smaller and less-pronounced upper bout than most styles. Its size and power gave rise to its name, from the most formidable class of warship at the time of its creation in the early 20th century; the style was designed by Martin Guitars to produce a deeper sound than "classic"-style guitars, with resonant bass. Its body's combination of compact profile with a deep sound has since been copied by every major steel-string luthier, making it the most popular body type. Martin's "D" series guitars, such as the prized D-28, are classic examples of the dreadnought; the jumbo body type is bigger again than a grand auditorium but proportioned, is designed to provide a deep tone similar to a dreadnought's.
It was designed by Gibson to compete with the dreadnought,) but with maximum resonant space for greater volume and sustain. These come at the expense of being oversized, with a deep sounding box, thus somewhat more difficult to play; the foremost example of the style is the Gibson J-200, but like the dreadnought, most guitar manufacturers have at least one jumbo model. Any of these body type can incorporate a cutaway, where a section of the upper Below the neck is scalloped out; this allows for easier access to the frets located atop the soundbox, at the expense of reduced soundbox volume and altered bracing, which can affect the resonant qualities and resulting tone of the instrument. The 12-string guitar replaces each string with a course of two strings; the lower pairs are tuned an octave apart. Its unique sound was made famous by artists such as Pete Seeger and Leo Kottke. All of these traditional looking and constructed instruments are referred to as flattop guitars. All are used in popular music genres, including rock, blues and folk.
Other styles of guitar which enjoy moderate popularity in more specific genres, include: The archtop, which incorporates an arched, violin-like top either carved out of solid wood or heat-pressed using laminations. It has violin style f-holes rather than a single round sound hole, it is most used by swing and jazz players and incorporates an electric pickup. The Selmer-Maccaferri guitar is played by those who follow the style of Django Reinhardt, it is an unusual-looking instrument, distinguished by a large body with squarish bouts, either a D-shaped or longitudinal oval soundhole. The strings are gathered at the tail like an archtop guitar, it has a wide fingerboard and slotted head like a nylon-string guitar. The loud volume and penetrating tone make it suitable for single-note soloing, it is employed as a lead instrument in gypsy swing; the resonator guitar or resophonic guitar called the Dobro after its most prominent manufacturer, amplifies its sound through one or more metal cone-shaped resonators.
It was designed to overcome the problem of conventional acoustic guitars being overwhelmed by horns and perc
The bass flute is the tenor member of the flute family. It is in the key of C, pitched one octave below the concert flute; because of the length of its tube, it is made with a J-shaped head joint, which brings the embouchure hole within reach of the player. It is only used in flute choirs, as it is drowned out by other instruments of comparable register, such as the clarinet. Prior to the mid-20th century, the term "bass flute" was sometimes used in Great Britain, to refer to the alto flute instead. In 1910 Abelardo Albisi invented a bass flute known as the albisiphone, used in scores by Mascagni and Zandonai among other composers during the first half of the 20th century; the instrument's sounding range is from C3, one octave below middle C, to C6, two octaves above middle C. Bass flute music sounds an octave lower than it is written, the typical concert flute range. Notes written above A6 are not used as they are difficult to produce and have inferior tone; because manufacturers do not taper the flute body through the curve, intonation of all notes beginning with written D6 and higher tend to be sharp.
The player can use alternative fingerings. Bass flutes have a C foot rather than the B foot common to other flutes; the shorter tube reduces acoustic resistance, which quickens the response and makes the tone brighter and more resonant. The shorter tube makes the instrument somewhat lighter and less fatiguing for the player to hold. Bass flutes are most made with silver-plated bodies and head joints. Most basses come with trill keys which allow the player to stabilize some otherwise unstable middle register notes as well as trill between otherwise impossible notes. Kotato basses have addressed the weight problem of bass flutes by designing a graphite rod that screws onto the underside of the instrument and rests on the chair seat between the player's legs. Adjustable rods have been developed by Jeff Amos. Other manufacturers have added a left hand thumb support called a crutch, which helps some players with physical control of the instrument. Dutch flute maker Eva Kingma has created a vertical design for the bass flute which allows the weight of the instrument to be supported by the floor.
Many composers are beginning to write more pieces for the bass flute. These include Katherine Hoover's Two for Two, Bill Douglas's Karuna, Sophie Lacaze's Archelogos II, Mike Mower's Obstinato and Scareso, Gary Schocker's A Small Sonata for a Large Flute, Lorenzo Ferrero's Ellipse and Shadow Lines, Sonny Burnett's Stone Suite, Catherine McMichael's Baikal Journey and Ennio Morricone's Secrets of the Sahara. Other important works include Tristan Murail's Ethers for solo bass flute and small ensemble, Brian Ferneyhough's Mnemosyne for bass flute and tape, Mario Lavista's Lamento a la muerte de Raúl Lavista for solo bass flute, Michael Oliva's Moss Garden for bass flute and tape, John Palmer's Inwards for bass flute and live-electronics, She Cried by Shiva Feshareki, Marc Tweedie's Zoli, written for renowned flautist Carla Rees. Studies and concert etudes are beginning to appear that address the instrument's many challenges. Peter Sheridan has commissioned and arranged new compositions in this area, including a set of'Etudes for Low Flutes' by Hilary Taggart.
The sixth movement of Claude Bolling's suite for Flute and Jazz Trio,'Versatile' has the soloist playing the opening melody on a bass flute. Morton Feldman's composition "Crippled Symmetry" has a part for the bass flute, as does John Cage's late work "Seven2". Hans Pfitzner's 1917 opera Palestrina features an early C bass flute part. Another piece featuring the bass flute is John Mackey's "The Frozen Cathedral" in two separate sections of the piece. For an extensive list of repertoire for bass flute and contrabass flute see Repertoire Catalogue for Piccolo, Alto Flute and Bass Flute by Peter van Munster. Selected repertoire graded into ability levels with short descriptions and information about basses can be found in The Alto and Bass Flute Resource Guide published by Falls House Press, specialist low flutes publishing company Tetractys has a growing catalogue of works for bass flute. A handful of jazz musicians have used the bass flute, including saxophonists Henry Threadgill, Brian Landrus, James Carter, drummer Ronald Shannon Jackson who played bass flute as a second instrument.
Hubert Laws features the bass flute on his recording of "Amazing Grace," in which he plays the first verse on bass flute, the second on alto, the third on soprano. In electronic music, Jack Dangers has sometimes used bass flute as the leader of the Meat Beat Manifesto. A bass flute is heard throughout George Bruns' score for The Jungle Book and the original Pirates of the Caribbean attraction; the best-known work to feature the bass flute is the album Wave by Antônio Carlos Jobim. Http://Lowflutes.com https://web.archive.org/web/20101104012435/http://www.hogenhuis-flutes.com/pages/bassflute.html Bassflute Jelle Hogenhuis
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
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
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
Live at the BBC (Richard & Linda Thompson album)
Richard Thompson - Live at the BBC is a compilation of audio and video recordings made by Richard Thompson for the BBC. The set consists of three CDs and a DVD; the included material was recorded over a number of years. Most of the material was recorded for various TV and radio shows broadcast by the BBC. About 40 % of the included material was performed by Linda Thompson; the second half of disc two plays back at 3 -- 4 % faster than intended. The problem wasn't detected during the mastering portion of the release. All songs written by Richard Thompson except where noted "The Little Beggar Girl" "Dragging the River" "The Great Valerio" "The Neasden Hornpipe" "I Want To See The Bright Lights Tonight" "Hokey Pokey" "Georgie On A Spree" "I'll Regret It All In The Morning" "A Heart Needs A Home" "Wishing" "I'm Turning Off A Memory" "A Man In Need" "Withered And Died" "New-Fangled Flogging Reel/Kerry Reel" "Shoot Out The Lights" "Just The Motion" "Back Street Slide" "Night Comes In" "Dimming Of The Day" "Modern Woman "Tracks 1 to 4 were recorded in January 1973 for John Peel's radio show.
Track 5 was recorded in January 1974. Tracks 6 to 11 were recorded in February 1975 for John Peel's radio show. Tracks 12 to 18 were recorded in concert at the Paris Theatre in May 1982. Tracks 19 and 20 were recorded for the BBC Radio show "Folk on 2" in 1982. All songs written by Richard Thompson "She Twists The Knife Again" "You Don't Say" "When The Spell Is Broken" "The Angels Took My Racehorse Away" "Valerie" "Jennie" "You Don't Say" "Fire In The Engine Room" "Wall Of Death" "Nearly In Love" "Valerie" "When The Spell Is Broken" "Two Left Feet" "Turning Of The Tide" "How Will I Ever Be Simple Again" "Ghosts In The Wind" "Shoot Out The Lights" "She Twists The Knife Again" "Withered And Died" "The End of the Rainbow "Tracks 1 to 3 were recorded in July 1985 for Andy Kershaw. Tracks 4 to 10 were recorded in concert at the Hammersmith Palais in November 1986. Tracks 11 to 20 were recorded in January 1987 for Andy Kershaw. All songs written by Richard Thompson except where noted "Gethsemane" "Outside of the Inside" "Wall Of Death" "Word Unspoken, Sight Unseen" "Kidzz" "Did She Jump Or Was She Pushed" "The End of the Rainbow" "One Door Opens" "Outside Of The Inside" "Let It Blow" "Old Thames Side" "Dad's Gonna Kill Me" "Down Where The Drunkards Roll" "I Want To See The Bright Lights Tonight" "Needle and Thread" "So Ben Mi Ca Bon Tempo" "The Cutty Wren" "See My Friends" "Time’s Gonna Break You" "William Brown" "Meet On The Ledge"Tracks 1 to 3 were recorded in September 2001 for Andy Kershaw.
Tracks 4 to 7 were recorded in April 2003 for Andy Kershaw. Tracks 8 and 9 were recorded in May 2004. Tracks 10 to 15 were recorded in July 2007 for Tom Robinson's show on BBC 6 Music. Tracks 16 to 18 were recorded in December 2008 for Bob Harris. Tracks 19 to 21 were recorded in January 2009. All compositions by Richard Thompson except where noted "Jet Plane In A Rocking Chair" "A Heart Needs A Home" "Night Comes In" "I'm A Dreamer" "I Want To See The Bright Lights Tonight" "Shoot Out The Lights" "You're Going to Need Somebody" "Dargai" "Dimming Of The Day" "Pavanne" "Just The Motion" "Fire In The Engine Room" "She Twists The Knife Again" "Wall Of Death" "When The Spell Is Broken" "Did She Jump Or Was She Pushed" "The Wrong Heartbeat" "Tear Stained Letter" "She Twists the Knife Again "Tracks 1 and 2 were recorded in March 1975 for The Old Grey Whistle Test. Tracks 3 to 9 were recorded in August 1981 for the show "A Little Night Music". Tracks 10 and 11 were recorded in January 1981 for Jake Songs.
Tracks 12 to 18 were recorded in April 1985 for Polydor and broadcast on BBC Television in August 1985. Track 19 was recorded in August 1985 for The Old Grey Whistle Test. Musicians: Richard Thompson – guitar and vocals Linda Thompson – vocals Simon Nicol – guitar and backing vocals Timmy Donald – drums Pat Donaldson – bass guitar Ian Whiteman – piano John Kirkpatrick – accordion, concertina Pete Zorn – bass guitar and backing vocals Dave Mattacks – drums Clive Gregson – guitar and backing vocals Christine Collister – backing vocals and acoustic guitar Gerry Conway – drums Rory MacFarlane – bass guitar and backing vocals