Classic Albums - Rumor and Sigh
© Stephen William Gray
Richard teamed up with his wife, Linda, on a number of critically acclaimed albums, including "I Want To See The Bright Lights Tonight" (1974) and "Shoot Out The Lights" (1982). After they split, Richard, as a solo performer or with a backing band, continued honing his song-writing to such an extent that he is almost revered. His original guitar-playing style and attack also puts him among the greats. How is it then that he has not been a major commercial success?
Rumor and Sigh from 1990 is one of my favourites from Richard's catalogue. It begins with a young man who's knowledge of the opposite sex comes from top-shelf magazines - "I've never been to Heaven, but at least I've read about love." Confidence is high in "Feel So Good" - "I feel so good I'm going to break somebody's heart tonight." But those of us who know Richard's songs are more familiar with his anthems to lost love. The next tracks return to the darker and sadder side of love with "I Misunderstood", "Grey Walls," "You Dream Too Much" and "Why Must I Plead."
"1932 Vincent Black Lightening" is a perfect example of Richard's carefully crafted story songs. It is a romance between James, his motorbike and Molly - "red hair and black leather, my favourite colour scheme." It all ends in tears - but what a story!
"Backlash Love Affair" has Richard dreaming of a dominating Iron Maiden but worrying about becoming a shish-kebab. "Mystery Wind" adds Thompson's take on the awe inspired by the ill-wind that blows no good.
The mood is considerably lightened by "Don't Sit On My Jimmy Shand's." The hero of this classic is invited to parties because of his collection of Jimmy Shand records - "no shindig is quite complete, without that famous polka beat." The backing band, including brass, accordian and fiddle perfectly evokes the atmosphere of a Scottish dance band and the drunken key-changing coda is priceless.
Back to earth again for the rest of the album. "Keep Your Distance" a country-style song of doomed friendship is followed by "Mother Knows Best" which let's you know just how hopeless you are.
"God Loves A Drunk" is another outstanding track. How can it fail with a first line "Will there be any bartenders up there in Heaven?" I was personally drawn to this track because I once wrote a song called "Sally Racket" about a shy singer who amazed her folk-club audience when she began to sing. Years later I was given the words to the sea-shanty "Sally Racket" and realised that I must have absorbed the name into my sub-consciousness and reproduced it in my song. In "God Loves A Drunk," the drunk "leans in the doorway and sings Sally Racket" as he uses the booze to kick-start his mind. Is it better to be like this, or is it better to live a "dull little life full of dull little things"? "Will there be any pen-pushers up there in Heaven?"
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