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TOP 500 REVIEWERon 2 November 2011
Prominent contributions on this album from Richard Thompson on guitar and Teddy Thompson on harmony vocals mean that the apple doesn't fall too far from the family tree on Kami Thompson's debut album ... she even calls a song "Never Again", although it's not a patch on her dad's classic. What we have here, then, is the latest scion of an imperial dynasty; I was quite surprised to discover that Ma does not also appear.

Vocally, Kami is no slouch: comparisons that occur to me (other than Teddy & Linda) are Sheryl Crow and (a slightly less breathy) Julianne Regan, so the style tends to be Folk/AOR with a heavy hint of pop. Rather than emote massively, Kami sings with a slight distance and world-weariness that could make for an interesting stock-in-trade. As a songwriter, though, she isn't quite there yet, turning out a series of songs that are pleasant but not really arresting. The album closer - a decent cover of The Beatles' "Don't Bother Me" - is notable enough to alert the listener that what has gone before it is slightly lacking.

For me, this is on the cusp of three/four star territory, but it's good enough to suggest that Kami will do better in due course. Recommended if you want to be "in on the ground floor" with a performer who might not need to depend on her illustrious relatives so much in the future.
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on 27 October 2011
Kami Thompson's debut release 'Love Lies' completes the Thompson musical production line from father Richard, mother Linda and brother Teddy. It's a familial line full of cross-album support as well as inner influence, conscious and, no doubt, subconscious.

Opener 'Little Boy Blue' establishes that blood-trait directly with Richard's note-bending guitar work and distinct harmonising vocal helping to drive the song, one of many about lost love which in itself reflects a strong thematic tradition across this family. Third track 'Nice Cars' drives its metaphor with sass and a 'gear stick stuck/what the fxxx raunchy lyrical insert - essentially more heartache explored in a linguistically rich tale. 'Gotta Hold On' gets vocal support from Rufus Wainwright, and throughout the album, Martha Wainwright, Lucy Wainwright Roche, Sean Lennon and Teddy Thompson also add support. This provides undeniable breadth to Kami's consistently strong songs, as with ninth track 'Never Again' where the harmonies rise beautifully near the song's end - another one that Kami has characterised as 'self-indulgent break-up music', though as listeners we can be grateful for her emotional obsession and catharsis. Penultimate track 'Blood Wedding' is enlivened with mandolin and more sweet harmonies, the lyric invoking her mother and which sounds most like Linda in the vocal, with the theme of lacking trust in men possibly transferring down that well-known stroyline. The final song is an echo infused version of George Harrison's 'Don't Bother Me' and yet again concerns itself with being left alone. I hope Kami has attained her closure, though I wouldn't want this to starve the muse for future songwriting.
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on 5 April 2012
Big fan of RT and TT so thought I would give this a go, and, while it has some pedigree, I am not totally convinced. The lyrics are a bit "ropey" in places and metaphorically obvious (on about the Mercedes....) and her voice is verging on flat rather than soothing....the whole thing lacks "bite". I do sense that were she not such a part of the family and didn't have such cool friends nobody would bother with it and she'd end up going the way of Kate Walsh et al. That said, it is nice to have it on in the background and the musicianship is excellent. (I admit I may have a pre-determined issue with this as, although RT gets worship status from me, I was never a fan of Linda's voice).
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on 22 February 2014
from the first notes of this album you'll be hooked. on first listening I was struck by the similarities with many of Teddy's recordings. Perhaps I could have anticipated that. Little boy blue is already a strong favourite on the playlist.
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on 25 October 2011
Sometimes music is a cerebral affair where you are invited to ponder deep feelings, meanings and allusions. And sometimes music just hits you square across the heart and stirs something in you. Strangely, I think this album is both.

While the songwriting is quite deep and clearly honest/refreshing, it's really the singer's voice that is just inescapable - it's haunting. Haunting like war, haunting like heartbreak, haunting like that painting that stays in your mind's eye long after you've left the museum. That haunting quality flavours all the music and make it reverberate within you, even after the songs are over.

However you've discovered this album, don't miss the chance to let it marinate inside. Highly recommended.
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on 30 October 2015
Great CD, shows the thread of Thompson talent. It deserved more attention from the music press, a modern album with distinctive songs, all sung from the heart.
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on 16 October 2014
Better than OK and hints at better things to come. Her Dad has something to be proud about. Check out the Rails which shows what she can do.
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on 9 March 2015
Fantastic
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