Richard Thompson
Mirror Blue
Album · Rock · 1994
While Richard Thompson established himself as both an English folk traditionalist and an incendiary electric guitarist in the late ‘60s and ‘70s, solo and with Fairport Convention, he focused on his songwriting and even pop productions during the ensuing decades. 1994's Mirror Blue, much like 1991's Rumor and Sigh, is a well-balanced collection of jaunty pop-rockers ("I Can't Wake Up To Save My Life"), dark instrumental textures ("Mingus Eyes") and sweet and sorrowful ballads ("King of Bohemia," "Beeswing"). Thompson never allows his prodigious guitar talents to obscure the song but instead injects the songs with stunningly quick solos and dexterous fingerpicking that subtly shade his limited but effective vocal range. With drummer extraordinaire Pete Thomas backing his every move, and producer Mitchell Froom indulging in some sonic looniness, Mirror Blue is among Thompson's best sounding and most playful albums. "Mascara Tears,' "Fast Food," and "Shane and Dixie" prove he can handle whatever lyrical angle he wishes to tackle. "Taking My Business Elsewhere," however, closes things out with Thompson's trademark eeriness.
Mirror Blue
Richard Thompson
While Richard Thompson established himself as both an English folk traditionalist and an incendiary electric guitarist in the late ‘60s and ‘70s, solo and with Fairport Convention, he focused on his songwriting and even pop productions during the ensuing decades. 1994's Mirror Blue, much like 1991's Rumor and Sigh, is a well-balanced collection of jaunty pop-rockers ("I Can't Wake Up To Save My Life"), dark instrumental textures ("Mingus Eyes") and sweet and sorrowful ballads ("King of Bohemia," "Beeswing"). Thompson never allows his prodigious guitar talents to obscure the song but instead injects the songs with stunningly quick solos and dexterous fingerpicking that subtly shade his limited but effective vocal range. With drummer extraordinaire Pete Thomas backing his every move, and producer Mitchell Froom indulging in some sonic looniness, Mirror Blue is among Thompson's best sounding and most playful albums. "Mascara Tears,' "Fast Food," and "Shane and Dixie" prove he can handle whatever lyrical angle he wishes to tackle. "Taking My Business Elsewhere," however, closes things out with Thompson's trademark eeriness.
