Richard Thompson Hokey Pokey Rar
The Thompsons recorded two more albums—Hokey Pokey and Pour Down Like Silver, both released in 1975—before Richard Thompson decided to leave the music business. Lyrics to Richard Thompson Hokey Pokey: Little boy running and the little girl too Got the money tucked up in their hands Over the wall and down into the street Give.
This article includes a, but its sources remain unclear because it has insufficient. Please help to this article by more precise citations. (April 2011) Hokey Pokey by Released April 1975 Recorded September - October 1974 Studio Sound Techniques, Length 36: 02 (original) 52:36 (2004 reissue) and chronology (1974) 1974 Hokey Pokey (1975) (1975) 1975 Professional ratings Review scores Source Rating Hokey Pokey is the second album by the British duo of singer and singer/songwriter/guitarist.
It was recorded in the autumn of 1974 and released in 1975. Listeners keen to try to find connections between the albums by the Thompsons and their personal lives may be confused by the delays between writing, recording and release of the early albums. Was conceived and recorded prior to the Thompsons' embracing of Islam, but the album's release was substantially delayed. By the time that album was released the Thompsons were living in an Islamic commune in.
In the meantime, the Thompsons had toured as a trio with guitarist. Nicol recalls that period: (in Patrick Humphries' biography of Richard Thompson) we did the folk clubs as a trio. It was just after they got married, and it was lovely. I look back on that period with great affection.
It was really powerful. You could hear a pin drop at most of those gigs. Rapt attention. Two acoustic guitars, and the bass pedals went through a little backline combo amp, we’d use house microphones. It was stuff from Bright Lights. And Hokey Pokey, in the process of creation, Hank Williams’ songs. So much of the material on the Hokey Pokey album was written sometime before the album was recorded and even predates the conversion to Islam.
To add to the confusion the release of the eventual album was again delayed and so the song and the themes of the album lagged behind the development of the Thompsons's personal lives. The album is thematically cohesive for the most part. The first eight songs present a bleak world view with constant images of people living a shallow existence and seeking some kind of gratification - often in drugs or sexual encounters ('Hokey Pokey', 'I'll Regret It All in the Morning', 'Old Man Inside a Young Man', 'Georgie on a Spree'), or experiencing a hard and cruel life with the cruelty often being dealt out by their fellow humans ('Smiffy's Glass Eye', 'The Sun Never Shines on the Poor', 'I'll Regret It All in the Morning', 'Old Man Inside a Young Man').
'Never Again' (originally written in the aftermath of Fairport Convention's devastating tour bus crash in 1969) portrays an old man looking back on a life devastated by the unexpected loss of loved ones. 'A Heart Needs a Home', the ninth song, serves as Richard Thompson's declaration of faith whilst also harking back to the unfulfilling existence portrayed in the preceding songs.I came to you when No one could hear me I’m sick and weary Of being alone Empty streets and Hungry faces The world’s no place when You’re on your own A heart needs a home. In terms of musical style Thompson's songwriting on this album reflects a number of British styles despite not being in the English folk-rock style of 'Bright Lights': Music Hall, English hymns, traditional brass bands, pub sing-alongs and even the double entendres of are all discernible. In many cases, Thompson juxtaposes an upbeat tune with a bleak lyric. Contents. Track listing All songs written by Richard Thompson except as noted.
'Hokey Pokey (The Ice Cream Song)'. 'I'll Regret It All in the Morning'. 'Smiffy's Glass Eye'. 'The Egypt Room'. 'Never Again'. 'Georgie on a Spree'.
'Old Man Inside a Young Man'. 'The Sun Never Shines on the Poor'. 'A Heart Needs a Home'. 'Mole in a Hole' 2004 Island CD reissue. 'Wishing' (, Bobby Montgomery). 'I'm Turning Off a Memory'. 'A Heart Needs a Home'.
'Hokey Pokey (The Ice Cream Song)'. ' All extra tracks are live and previously unreleased. Personnel., (3,10), (4,5), (5,9), piano. vocals.
Timi Donald -. guitar, piano, (8), vocals (7). (1,3,4,10). Ian Whiteman -, (9). (9). (1,3). The CWS Silver Band (6,10) References.
Thompson performing solo on stage at the, 1982 had booked the Thompsons as the support act for his 1980 tour, and had also used Richard as a session player on his album. Rafferty offered to finance the recording of a new Richard and Linda Thompson album which he would then use to secure a contract for the Thompsons. Richard Thompson fell out with Rafferty during this project and was not happy with the finished product. Nevertheless, Rafferty kept his side of the bargain and presented the album to several record companies – none of which expressed interest in signing the Thompsons. Rafferty did not recover his investment. About a year later signed the Thompsons to his small label and a new album was recorded.
Included new recordings of many of the songs recorded in 1980. Linda Thompson was pregnant at the time of the recording, so the album's release was delayed until they could tour behind the album. Breathing problems arising from her pregnancy also meant that Linda could not sing the lead part on some of these songs as she had done on demo tapes and the Rafferty-produced recordings. As an interim measure, Richard Thompson decided to arrange for a low-key tour of the U.S.
This tour was set up by Nancy Covey who had been in the UK in 1981 trying to sign Thompson to play at the famous McCabe's guitar shop in. During this tour Thompson and Covey developed some personal intimacy, and in December 1981 Richard and Linda Thompson separated. Upon its release in 1982, Shoot Out the Lights was lauded by critics and sold quite well – especially in the U.S. The Thompsons, now a couple for professional purposes only, toured the United States in support of the album, their only American tour together.
Both the album and their live shows were well received by the American media, and Shoot Out the Lights effectively relaunched their career – just as their marriage was falling apart. The performances, with a backing band including both and of Fairport Convention, were seen as strong, but the tension between Richard and Linda was all too obvious.
For this reason, the Thompsons' fans often refer to the Shoot Out the Lights tour as 'The Tour from Hell.' Upon returning home, Richard and Linda went their separate ways. Richard Thompson continued recording as a solo artist. His 1983 album saw him working with again, but with a revised backing band and a more extroverted and up-tempo song selection. With his separation from Linda finalized, Richard Thompson began to commute between twin bases in London and Los Angeles and began to tour regularly in the USA. Encouraged by the success of his solo shows in late 1981 and early 1982, he began to perform solo with increasing frequency and continued to tour with a band. In 1983 and 1984 he toured the USA and Europe with the Richard Thompson Big Band, which included two saxophone players in addition to the more usual rhythm section, second guitar and.
Set lists included covers of classic rock 'n roll songs and jazz standards such as '. In 1985 Thompson signed with and received a sizeable advance. He also married Nancy Covey and moved his home and his working base to California. As part of the settlement that allowed Thompson to leave Boyd's Hannibal label for Polygram, the live album was released. This comprised recordings made during Thompson's solo shows in the USA in late 1981 and early 1982. 1985's was his last album to be recorded in England and the last to have as producer. Thompson put together a new look backing band for the tour to promote this album, and some shows were filmed for a live video release (see ).
In 1986 he released, which was recorded in Los Angeles and produced. Daring Adventures, with a rich sound, markedly different production and use of American, was perceived by some as evidence of Thompson's increasing 'Americanisation'. Perhaps more significantly, the album continued the trend, begun with Across A Crowded Room, of Thompson's songs moving away from the seemingly personal material and towards the character sketches and narratives for which he has since become famous. Froom and PolyGram had plans to target college and the growing 'alternative' markets with Daring Adventures.
Sales improved, but not substantially. Polygram declined an option to renew the contract. Thompson's management negotiated a new deal with. In 1985 Fairport Convention reformed and recorded the album. How to install programs on wine. Thompson did not rejoin Fairport, but he did contribute a song to the project and played guitar on another track on the album.
1988 saw the release of Thompson's first album for Capitol,. Froom was retained as producer, and once again the album was recorded in Los Angeles with many of the same players that Froom had called upon for the Daring Adventures sessions. 1990s Thompson contributed music to Northwest's documentary Hard Cash and appears on the eponymous accompanying album issued. A track from the album, Time To Ring Some Changes is included in the 2009 Topic Records 70-year anniversary boxed set as track thirteen on the sixth CD. Thompson appears on 's 1991 album. In 1991 Thompson recorded, his second album for Capitol.
Once again Froom produced. This album, particularly the acoustic guitar ballad '1952 Vincent Black Lightning,' was hailed by critics and fans alike and greatly advanced Thompson's reputation as a leading traditional-style guitarist. Rumor and Sigh was nominated for a and sold well.
However, a shake-up at Capitol saw Hale Milgrim (Thompson's champion and fan within the boardroom) replaced by Garry Gersh. Thus, Thompson's next album was held back for almost a year before being released. In 1992 he performed with. Their joint acoustic concert at St. Ann & The Holy Trinity in, New York on 24 March, produced the album An Acoustic Evening, which was released the same year. Mirror Blue was released in 1994, to often negative reviews sparked by the production decisions that Thompson and Froom took.
Thompson took to the road to promote the album. He was joined by drummer, (no relation) on double bass, and on acoustic guitar, backing vocals, and various wind instruments. This line-up toured with Thompson the following two years. Thompson continued recording for until 1999, when was recorded and released. His deal with Capitol was modified so that he could release and directly market limited-quantity, live recorded, not-for-retail albums. The first of these was, released in 1995. Thompson at the, 2006 In 2001 Thompson declined the option to renew his contract with Capitol.
In 2003 the produced a documentary about Thompson's long musical career, entitled Solitary Life, directed by Paul Bernays and narrated. It featured interviews with Thompson from his home in California and contributions from, ex-wife, and Thompson's wife Nancy Covey.
The programme was re-broadcast by in September 2012. The move away from big labels and big budgets paradoxically brought a bigger marketing push and healthier sales. Thompson's first two self-funded releases, 2003's and 2005's, did well in the charts on both sides of the Atlantic. In May 2007 Thompson released. The album was licensed to different labels in different territories: in the USA, in Japan, Planet Records in Australia, and in the UK and Europe. In August of the same year released a live Richard and Linda Thompson album, compiled from recordings made during the November 1975 tour to promote the album.
Thompson continued releasing 'official bootlegs' on his boutique label as an additional source of revenue – all live recordings. 2010s In early 2010 Thompson assembled a band and did a string of shows showcasing new material. The aim was to record the new material in a live setting. The recording and touring band consisted of Thompson, Pete Zorn, (acoustic guitar, flute, saxophone, mandolin, vocals); (drums, vocals), (bass guitar, vocals); and, (, mandolin, vocals). The resulting album, released in August the same year, was nominated for a.
On 10 June 2010 Thompson was awarded the Les Paul Award for 'Guitar Legend'. Thompson curated the 2010. The festival included a tribute to the recently deceased, a feature of which was a rare on-stage reunion of Richard and Linda Thompson. Thompson was appointed (OBE) in the 2011 New Year Honours for services to music.
On 5 July 2011, he was awarded an by the. In early 2013 Thompson released, recorded in Nashville with producing. The record enjoyed good reviews and debuted in the UK top 20.
William Ellis School
Thompson took to the road with a stripped down ' band on a multi-month tour on both sides of the Atlantic to promote the new album. Also in 2013, Thompson appeared on his ex-wife Linda's fourth studio album Won't Be Long Now, on the track 'Love's for Babies and Fools'.
It is the second time the two have recorded together since Shoot Out the Lights, the other being the song 'Dear Mary' on Linda's 2002 album Fashionably Late. In 2014, Thompson released, an album featuring acoustic renditions of 14 songs from his back catalogue, on his Beeswing label. The record reached number 16 on the. Thompson appears alongside family members, both blood related and by marriage, on the album (2014) by Thompson (the band being named for all the Thompsons that appear), performing two songs solo and contributing to others as well. The album was produced by son Teddy Thompson and features ex-wife Linda Thompson, who are Thompson's daughter and her husband James Walbourne, as well as other related musicians, including Walbourne's brother and Richard Thompson's son from his second marriage. Thompson released in June 2015, an album produced by of and recorded in Tweedy's The Loft Studio. In September 2015 he appeared on 's, where he performed 'All Buttoned Up' and 'She Never Could Resist a Winding Road' from his album.
Side projects and collaborations In between leaving in early 1971 and releasing his debut solo album in 1972 he undertook a large amount of work, most notably on albums by, and. During the same period he also worked on two collaborative projects. Was recorded with, and Barry Dransfield, and was a collection of English traditional tunes arranged for electric instruments. The Bunch were almost the reverse conceptually – a grouping of English musicians (including, and members of ) recording a selection of classic tunes. Thompson has continued to guest on albums by an array of artists, from, and, to and and folk artists like, (of ) and. He has also performed and recorded with, his son from his marriage to. Thompson with Fairport Convention's at Cropredy, 2005 Since the early 1980s Thompson has appeared at 's annual, both in his own right and as a participant in sets with current and previous Fairport members.
These sets are seldom confined to performances of songs out of the Thompson or Fairport Convention canons, and in recent years some surprise offerings have included the soul classic ' (with Thompson backed by the Big Band), ' ' and even '. Thompson has displayed a penchant for the as well, working with former singer 's grouping The Pedestrians on two albums in 1981 and 1982, respectively. In the 1980s, he was associated with a loose-fitting group called, who were led by drummer and included at times on stage and on record, and others. He has worked with experimental guitarist, most notably as part of the ad hoc grouping with whom he recorded two albums. In 1997 he worked with long-time friend and band member to record a Industry that dealt with the decline of British industry. A year later he worked with expert on the acclaimed Bones of All Men which fused tunes with contemporary music. In recent years Thompson has devised and toured his show.
The inspiration for this came when asked Thompson (and many other music industry figures) in 1999 for their suggestions for the 'top ten songs of the millennium'. Guessing that Playboy expected most people's lists to start at around 1950, Thompson took the magazine at its word and presented a list of songs from the 11th century to the present day. Perhaps not surprisingly, Playboy did not use his list, but the exercise gave him the idea for a show which takes a chronological trip through popular music across the ages.
Thompson acknowledges that this is an ambitious undertaking, partly because he reckons that he is technically unqualified to sing 98% of the material, and partly because of the sparse musical setting he restricts himself to: besides his acoustic guitar, he's backed by singer/pianist and percussionist/singer. A typical performance would start with a medieval round, progress via a aria, Victorian music hall and and end with Thompson's take on the hit '. In 2004 Thompson was asked to create the soundtrack music for the documentary. The score, which was recorded over a two-day period in December 2004, brought Thompson together with a group of improvisational musicians, mostly from the; video footage from the sessions was edited into a mini-documentary, In the Edges, which was included with the DVD release of Grizzly Man. In 2009 Thompson was commissioned to write a piece for the International Society of Bassists in honour of Danny Thompson. The resulting Cabaret of Souls, a musical play set in the underworld, has been performed in State College (Pennsylvania), London, and Los Angeles with a cast that includes Harry Shearer, Judith Owen, Debra Dobkin, Pete Zorn, either Danny Thompson or David Piltch, and a 12-piece string section conducted by Peter Askim. This suite was eventually commercially released in late 2012.
In 2013, Thompson collaborated with Jack Shit for a cover of the traditional 'General Taylor' for the -compilation. Retrospectives and tributes There are a number of retrospective collections of Thompson's work, many containing material which is unavailable elsewhere. 1976's was a collection of unreleased material from the previous eight years of Thompson's appearances on the label. The 3-CD set combines his better-known songs and previously unreleased live and studio tracks. Is a compilation of tracks from his Capitol releases, plus three hard-to-find songs. Finally, in 2006, the independent label Free Reed released, a 5-CD box set consisting almost entirely of previously unreleased performances of songs from throughout Thompson's long career.
Thompson's songs have been extensively covered; for example, has been performed by artists such as, and. There have been several tribute compilations of other artists' interpretations of his work, including: 's and 's, both released in 1994.
Playing style Thompson makes use of the 'pick and fingers' technique (sometimes referred to as ') where he plays bass notes and rhythm with a pick between his first finger and thumb, and adds melody and punctuation by plucking the treble strings with his fingers. He also makes use of different, such as (low to high), and more. This enables him to adapt traditional songs, as on and. Thompson occasionally makes use of a thumb-pick, playing in, the most notable example being on the motorcycle ballad '.' Guitars Electric Thompson is often associated with the guitar. He has made prominent use of Stratocasters, as he has a general preference for the sound of pick-ups.
When I started playing Fenders in 1968, it was unfashionable because everyone in England was playing Gibsons and trying to get a big, fat sound like Eric Clapton had in Cream. I just wanted a little more bite. Prior to using a Stratocaster with Fairport Convention he used a with pick-ups. He then switched to a late 60s Stratocaster. Since leaving Fairport Convention he has continued to use electric guitars with single coil pick-ups, most famously a late-1950s Stratocaster but also two custom built electrics by Danny Ferrington as well as other Stratocasters, various -type guitars and, in the studio, a U2. As regards, he has made significant use of modulation and type effects pedals, most notably the and emulations thereof.
Thompson has made intermittent use of 's GK-1 pick-up and GL-2 synthesiser over the years. He made use of these devices on 1979's album and has occasionally used them in concert. Acoustic Since the early 1990s Thompson has made prominent use of acoustic guitars for studio and live work. Before this he used a 000-18 as well as instruments built by Danny Ferrington. For live work his acoustic guitars are fitted with a Sunrise pick-up and an internal condenser microphone. The output from the pick-up is usually fed into some effects pedals, typically a and a. Brief discography.
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Grammy Award For Best Alternative Music Album
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