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20 of 21 people found the following review helpful:
5.0 out of 5 stars
Unalloyed genius, 31 Aug 2004
Fledg'ling records have reissued Henry the Human Fly, which is great news. Richard Thompson's solo debut from 1972 had been kinda-sorta available since 1991, but I for one had never seen it in the shops before.
It's one of the best Thompson has made in a long and illustrious career. In every decade since the 1960s, Thompson has come out with at least one album that ranks among the best made that decade, and occasionally with more. <i>Henry the Human Fly</i> is a bit difficult to get into but once you get past the sound of Thompson's voice on this first attempt, you will hear great songwriting with the deceptively simple tunes and gut-wrenching lyrics that have been his trademark ever since.
The guitar playing is also beautiful, effective and mature. <i>Mojo</i> listed the record as one of the 20 greatest guitar albums ever, but don't expect a record driven by guitar pyrotechnics. Thompson's guitar playing, even then, served the songs, and not the other way around. Standout tracks:
"Roll Over Vaughn Williams", which has a dense, dark guitar sound, Meg White-style tic-toc drumming and what sounds like a heavily processed accordion backing the vocal line. It's moody and eccentric. The accordion (if that what it is) sounds more like a medieval crumhorn - it's not conventionally good accordion playing but, along with Thompson's heavy rhythm guitar, it adds to the scary effect of the song. "Nobody's Wedding", a slow, tuneful piece interrupted by slow reels played (excellently) by John Kirkpatrick on the accordion. The lyrics tell of a party that went on for sixteen days and sixteen nights "and it weren't even nobody's wedding". With the protagonist oblivious to the goings-on, the party spins out of control. "The Poor Ditching Boy", a classic Thompson rejection ballad and a much requested (but seldom played) song at concerts even now. "Wheely Down" and "The Old Changing Ways", two songs which could both pass for Irish traditionals. "The Old Changing Ways" is the better of the two, with a slightly faster pace and lovely guitar/harp interplay. The lyrics, told through the persona of a wayward tinker driven from his brother by his unwillingness to share, get some explicit moralising in, which is rare for Thompson. "The Old St. George", taking the form of a protest song, with its strident 3/4 tempo, snare-heavy drums and sneering vocals inciting the workers to "Leave the factory, leave the forge, and dance with the new st. George". "Painted Ladies", featuring a protagonist who wants them but can't afford them. One of Thompson's strength as a lyricist is his ability to take on a persona, and give an inside view of what makes a certain kind of person tick. Like all such songs by him, this one comes out disturbing and funny at the same time. Thompson's voice is an asset in songs like this one. "Mary and Joseph", a slow song with slightly off-pitch horns and rudimentary beats. It sounds like a Tom Waits song, including Thompson's vocal delivery, which sounds drunk. After all those songs about wild parties, drinking, painted ladies, greed and gambling, "Twisted" is a fitting album closer. "People are looking hazy and people are looking dim. I would go for help if I could find the way I came in.... sitting at the bar with my face in the jar, and something tells me I'm twisted." The music nails the tiredness and anger of the last person at the bar perfectly. Buy this record if it's the only one you get this year.
The remastered edition has excellent sound, with Thompson's acoustic guitar and the other instruments coming through with great detail and presence.
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~ Richard Thompson
~ Richard Thompson
~ Richard Thompson
~ Richard Thompson
~ Richard Thompson
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