THE WORLD'S BEST NEW MUSIC

For as long as I remember, Richard Thompson has stood firmly between the centre and the periphery of what Loudon Wainwright called “the pop, rock, folk, slop, bop dance, (baby)”. First, as lead guitarist and songwriter for the seminal English folk-rock powerhouse Fairport Convention between 1967 and 1971 Thompson went on to forge an extraordinary six-album partnership with his then-wife Linda Thompson (1972-1982 Beginning with 1972’s Henry the Human Fly, his prolific solo discography now spans 20 albums. A formidable guitarist and sought-after session master, his contributions to records by John Martyn, Al Stewart, Sandy Denny, and Nick Drake remain legendary.

For Thompson, “Hippies, Thugs and Heroes” plays like a resonant return to roots, especially compared to its predecessor “Ship to Shore”, which we described in our May 2024 review, as “a deep and diverse 12-track collection that pulls from various styles, genres and eras” including Motown, drone, 1600’s-era European music and Berlin cabaret. Opening the album with “Sorcerer’s Apprentice” Thomson revives the modal, Celtic guitar sounds he helped pioneer in his formative years – the very sound that propelled a generation of artists including Fairport themselves, Jethro Tull and Steeleye Span. Lyrically, we find Thompson at his acerbic best here: “It dawns on me that you’re not quite well / You’re not quite compos mentis / I don’t want this job no more / the sorcerer’s apprentice”.

Elsewhere, “Cocaine Walking, Booze Talking” adopts a swaggering fingerpicked delta blues style to great effect. The album unfolds as  the masterly guitar-player’s portfolio: “Unsung Hero” and “Stringer” present as traditional folk songs, while slow-burning ballads such as “Pauper’s Grave”, “Make Believe You Don’t Know Me”, “She Burns It All,” and the gentle, album closing, “Siren” add poignant emotional depth.

A particular highlight, “The Big Smoke”, arrives late in the sequence. This simply presented, traditional ballad tells the story of a young fella who leaves his island or coastal home for the city: “Well, I'll miss my own folk / But I won't miss the blether / The smalltown talk or the filthy weather / The big smoke is calling.” It’s a universal story and a subtle melody that begs to be covered by the generation of singers to follow.

Elsewhere on this entertaining portfolio, Thompson gives us “The Soul In Me” - a slice of Appalachian style, fingerpicked folk; “Everybody’s Stealing” - a good old singalong and “Pipe Dream” – a duet that recalls his early years with Linda.