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Van Morrison
Roger McGuinn @ the Huntington IMAC, Long Island, NY - April 4, 2008
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Tift Merritt
Be Your Own Pet
Get Awkward
Paul McCartney – The McCartney Years (DVD)
Juno – Music from the Motion Picture
Various Artists
Yes - Their Definitive Story
Day and Night Driving
Seven Mary Three
InterMedia Arts Center 2/2/08
Huntington, NY
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Linda Thompson
Fashionably late? Jeez, what an understatement. Linda has more or less proven herself to be the Rip Van Winkle of popular music, disappearing for ages, and then suddenly popping up again, as if from nowhere. Well, I must say that it is truly great to have her back. Fashionably Late picks up where she left off in the late ‘80’s. It hop-scotches over her previous solo effort, One Clear Moment, released at the start of the ‘90s, and returns to the distinct tone of the albums she recorded with her ex-husband, Richard. The slick production of that first solo album might have disoriented a few of her longtime fans (personally, I thought it was very good), but this album marks a distinct return to a more rootsy sound. By placing emphasis on her incredible voice and some of the best English-related folk music either side of Fairport Convention, the production is flawless. Indeed, all of the classic ingredients are here, except for Richard’s caustic writing style. Replacing him is their son Teddy, whose own style lacks the bite of his old man, but retains a distinct perspective that is all his own. He supplies most of the material that Linda herself did not write here, and it is all very, very good.
Hearing Linda interpret songs that are written by her son is a revelation. She brings a depth to them that is almost miraculous. The tremble in her voice is one of the most beautifully musical sounds I have ever heard, and I think it will do both Teddy and Linda well if he continues to utilize his mom as his primary interpreter, since her voice is infinitely more expressive than his own. Linda still has a knack for sad songs and storytelling, and her own songs might even surpass those that she borrows. For instance, "Nine Stone Rig" (co-written with Teddy) is a perfect example of Celtic blues, serving as a living, breathing example of the European element that had been absorbed and transformed by centuries-old American songwriters.
Throughout, the album is simply luminous. Guitarist Jerry Donahue does a superb job, and he does it by sounding an awful lot like Richard Thompson – speaking of which, he makes a guest appearance here as well, providing his predictably superb guitar work on the opening track, "Dear Mary". Although he appears on only one track, his presence is felt throughout. Some songs shudder with implication; "Dear Old Man of Mine" is almost too much in that regard. Linda’s audience (and yes, delusional critics such as myself) cannot help but imply that the pointed barbs are aimed toward a certain guitar-playing ex, and this is made only more apparent since the only musicians appearing on the track are Linda and her two children, Teddy and Kamila. Her previous album also ended with a bitter tune, entitled "Only a Boy", so any emotional progress since then seems to be thwarted. Perhaps it’s all my imagination, but no matter. It’s simultaneously powerful, disconcerting and brilliant. "Paint and Powder Beauty" is just as sublime, with gorgeous ensemble orchestration worthy of the classics.
The album is full of talented guests and performers. The younger Wainwrights assist, as does Van Dyke Parks. With such talented friends surrounding her, the results are warm and embracing, even when she sings about death and betrayal – which is almost always, really. Fashionably Late is an album that requires listening. What a concept. In this age of Hallmark platitudes, it’s easy to glaze over and ignore lyrics. But Linda tells stories not only with words, but with her emotionally expressive voice. Listen.
Grade: 
 
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