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RICHARD THOMPSON
by John Noyd
With a career that began with the seminal British folk-rock group Fairport Convention, guitarist, singer-songwriter Richard Thompson has decades of
experience performing Celtic swinging rockabilly tales of motorcycles and jailbirds, Madonna's wedding and autobiographical heartbreak. Appearing June 23rd in a special solo acoustic performance at the Barrymore
Theatre in Madison, Richard talked to MAXIMUM INK on the eve of the release of his retrospective, "Action Packed: The Best of the Capitol Years."
MAXIMUM INK: Is there something that makes
the Capitol years special to you?
RICHARD THOMPSON: I always enjoyed the charisma of Capitol Records, they have a nice building and a good history. I always enjoyed strolling through the building with
all those portraits staring down at me, you know, Les Paul staring at me; it was intimidating and inspiring. I must try harder because Les is watching.
MI: What do you think Les would say about the
music business these days?
RT: It is an increasingly corporate world right now. It's changed a lot since the sixties when people were more likely to play their hunches
and give more of a run to young artists - that's certainly changed. It's become more like selling cornflakes really.
MI: With super sugar frosting?
RT: I think there are always a few
artists that are interesting in the larger field of pop music. It's a low percentage, maybe not even one-percent. I like Radiohead, Elliot Smith… but I don't think this is the most inspired time in
popular music.
MI: Is there nothing new to sing?
RT: I think it's more for corporate reasons, the way the music business is radio strait jacketed…often the talented people get overlooked or do
not get signed in the first place. It's also possible now to not have too much talent or possibly none and be a recording artist or have albums out there that confuse the issue.
MI: Do you remember what first attracted you to this business?
RT: I started playing when I was ten, trying to play instrumental guitar
hits. I had a few friends who played guitar, so it was a natural thing. From doing that in a bedroom to doing that at a school dance is a short step really.
MI: Any idea it would have turned into a lifelong career?
RT: I think when I was eighteen and sort of turned professional I felt, this is fun. I'm not even thinking about the future. I'm not
even thinking, will this last six months? It'll fizzle and then I'll go to college and get a real job and I suppose every few years I look over my shoulder and I'm sort of amazed that this sort of is a livelihood. I
think if you don't think career that's a very good thing.
MI: With your Capitol years behind you, what's next?
RT: I see what I do increasingly as popular music that uses a folk music
process. It's really being a troubadour. You come to town, you sing your songs, you move along and it's not really tied into the recording process that much. It's a live thing, you work your way
around the world and go around again. It's a particular type of interaction with the audience. It's a two-way thing, you give something to the audience but they give something to you and you share the
enjoyment of the musical interaction, the musical communication. It's a very joyful thing.
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