Separate Ways

Separate Ways

5.0 4
by Teddy Thompson

Second-generation performers who get their musical genes from one parent have a hard enough time being considered on their own merits, so imagine the hurdles faced by this singer-songwriter -- the progeny of two folk-rock legends, Richard and Linda Thompson. He acquits himself very well on this outing, a quantumSee more details below


Second-generation performers who get their musical genes from one parent have a hard enough time being considered on their own merits, so imagine the hurdles faced by this singer-songwriter -- the progeny of two folk-rock legends, Richard and Linda Thompson. He acquits himself very well on this outing, a quantum leap from his solo debut, which arrived six years prior. The younger Thompson taps into the same traditions as do his parents, but he branches out in other directions as well, applying icy synthesizers to some tracks and burnished alt-country arrangements to others. He shines brightest in the latter realm, recalling the more earnest elements of Wilco on the imposing "No Way to Be" and taking an upbeat, almost roadhouse-styled approach on the wickedly woozy "I Should Get Up." Both elder Thompsons drop in for cameo appearances here: Linda provides beautiful harmonies on a cover of the Everly Brothers' "Message to Mary" (a hidden track tucked in at disc's end), and Richard adds guitar licks throughout. There are a number of impressive guest shots -- from banjo great Tony Trischka, who pitches in on "Everybody Move," to Garth Hudson of the Band, who adds a layer of richness to "Altered State" -- but it's definitely Teddy's show. His poignant voice -- a soaring instrument reminiscent of frequent collaborator Rufus Wainwright's -- proves an ideal vehicle for lyrics that are alternately yearning and dissolute, but always cut right to the quick.

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Editorial Reviews

All Music Guide - Thom Jurek
For those who thought Teddy Thompson's self-titled first album was a fluke, think again. There is no sophomore slump on Separate Ways. It marks Thompson's debut with Verve Forecast. One has to wonder if -- and hope that -- they know they have a major talent on their roster. Separate Ways is a beautifully constructed collection of moody pop songs that reflect Thompson's melancholy yet blackly good-humored way of looking at the world. With able co-production provided by Brad Albetta, Thompson knows how to stack his musical deck with fine players. For starters, a host of second-generation offspring appear here: Martha and Rufus Wainwright appear as backing vocalists, as does Jenni Muldaur on a couple of tracks. His dad, guitar slinger Richard Thompson, plays on five tracks, and former Fairport Convention drummer Dave Mattacks and the Band's venerable Garth Hudson both play on one tune. There's even a hidden track on which Thompson sings with his mother. There is a country tinge to these proceedings, but that's all. British folk, rock, and even the blues all make appearances inside a musical web woven by Thompson. "Shines So Bright" opens the album. It's a humorous yet deadly serious way to look at fame and fortune. The Wainwrights and Muldaur help out here. The humor is black, which makes the message of the tune -- "I want to shine so bright it hurts" -- ring poignantly. "I Should Get Up" -- with the unmistakable sound of Richard Thompson's guitar -- looks at depression with a keen eye for detail: "I should get up, I should go out/I'm sure there's something I can't do without...Live underground pretty soon/That's where you lie/But I feel so warm inside my room/I'm safe and sound/Inside my tomb...The world goes on without me...Nobody misses the quiet kid." It's a tough, unflinching view, crooned elegantly, and it rocks. "I Wish It Was Over," with Dad on the guitar again, is a broken love song that sinks to the depths of a kind of despair of attachment and the fear of change. The beautiful cello of Julia Kent and the twin guitars of Teddy and Smokey Hormel weave their own forlorn magic as in a desperate amorous dance as Thompson's voice just drips with hurt, anger, and the resolve to let go. The confession and regret in the country waltz that is "Think Again" is startling: "She was naïve/And I was a sleaze...Hard to believe/That I could be someone's idea of love/I should have been out of reach/Baby I'm not that strong...Think again/This isn't what you want." Albetta and Thompson play everything themselves. It's countered with "That's Enough Out of You," a scorching faux rockabilly number that spits and snarls with Mattacks and Richard tearing it up as Teddy sings his ass off and trades leads with Dad. While the album officially closes with "Frontlines," a searing ballad, its true closer is a cover of the Everly Brothers classic "Take a Message to Mary" that Teddy sings with his mom, Linda. It's performed with just an acoustic guitar and the pair singing sweetly, bringing the sadness of the tune in which a jailed man asks a friend to carry a lie to his bride-to-be, so she won't find out where he is or what he's done. This is a gorgeous, tight, and utterly magical outing.

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Product Details

Release Date:
Verve Forecast


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Album Credits

Performance Credits

Teddy Thompson   Primary Artist,Guitar,Percussion,Keyboards,Vocals
Tony Trischka   Banjo
Richard Thompson   Guitar
Matt Chamberlain   Drums
Richard Gates   Bass
Garth Hudson   Organ,Synthesizer
Julia Kent   Cello
Dave Mattacks   Percussion,Drums
Brian Mitchell   Organ,Keyboards
Jenni Muldaur   Background Vocals
Shawn Pelton   Drums
Tony Scherr   Guitar
Greg Wells   Piano
Smokey Hormel   Guitar
Martha Wainwright   Background Vocals
Rufus Wainwright   Background Vocals
Cameron Greider   Guitar
Brad Albetta   Bass,Keyboards,chamberlain
Jason Crigler   Guitar,Percussion

Technical Credits

Steve Deutsch   Engineer
Tom Dube   Engineer
Edward Haber   Producer
Brian Mitchell   Engineer
Brian Scheuble   Engineer
Greg Wells   Producer,Engineer
Hollis King   Art Direction
Brian Fulk   Engineer
Brad Albetta   Producer,Engineer,drum programming,Audio Production
Teddy Thompson   Composer,Producer,Liner Notes,Audio Production
Tina Tyrell   Cover Photo

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