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Independence – Keith Thompson Band - Reviewed in Rock N’ Reel magazine by Keith Filton
Keith Thompson has been treading the boards, as a solo
artist and in various bands for many years now and has a wealth of experience
and knowledge that he has brought to this, his latest project. The Keith Thompson
Band has a new line-up for Independence featuring Neil Simpson on bass, Roy
Adams on drums (both from the Climax Blues band) and Patsy Gamble on Saxophone.
What hasn’t changed is Thompson’s uncompromising approach to British
rock/blues. Fuelled by a conscience evident in songs like “Nothing At
All” and “Independence”, there is passion aplenty in the
virtuoso guitar playing here. Taking on a range of styles, from Memphis shuffle,
Texas swagger to Chicago straight ahead blues, taking in acoustic territory
with “Preachin’ The Blues” and “Honest To God”,
this is a palette rich enough to satisfy the most discerning blues aficionado.
The writing is a class apart, with well-crafted songs strong on both melody
and rhythm, illustrating again the truism that the blues format does offer
a limitless vehicle to explore the emotional and dynamic range of popular
musical expression.
The band blends together perfectly and the members complement one another’s
playing to a degree not always present in blues/rock outfits. An excellent
CD which goes a long way to establishing Keith Thompson and the band as one
of the top home grown acts on the British R&B circuit.
Independence - Reviewer: Blues Matters
Independence is a faultless, flawless, blinding gem of a blues/rock album. From the opening explosion of Crash 'n' Burn to the sultry delta closing of Honest to God, not a second is wasted. The man behind it all is Keith Thompson an experienced and in demand musician he has gathered around him like minded disciples in the guise of Neil Simpson and Roy Adams from The Climax Blues Band, Patsy Gamble from the Little Big Horns and John Broomhall. But it's Thompson powerhouse singing and guitar riffs that blaze through the album. This is music that comes straight from those halcyon days when the British Blues explosion was giving way to the scruffier, freer, meaner and dirtier rock that was its love child. From there it has also taken the tradition of leaving no stone unturned. The first three tracks weigh in at a meaty 16 minutes plus, combined. Yet they fly by. The acoustic Preachin The Blues and Heartbreaker get the juices flowing. It's not subtle, sometimes it's not pretty but it's certainly alive. Keith Thompson and Strangebrew have done more than just released an album of rock 'n' roll that defies superlatives. They have given true fans back the knot in their stomach. Michael Mee
Keith Thompson in Staefa
Written by Marc Winter, Music Editor - Bluesnews CH
Impressive concert. Occurred last Saturday as previously announced, the English blues guitarist and singer Keith Thompson was in Zurich, following his performance in Watt / Regensdorf. As the "opening act" Paul Ubana Jones was to offer an intense solo performance. The concert in Staefa turned out to be a Van Ooordt bath of emotion, which has a lot to do with good sound, but also very much with the great atmosphere that the organizers had created. An unforgettable concert. It would be hard to find much better Saturday evening entertainment.
Van Oordt in Staefa has a relatively large hall, apparently a former greenhouse. Surrounding of trees and plants made this a wonderful concert location at which it looked as though the musicians were in an enchanted forest, especially because stage lighting and candles contributed greatly to the atmosphere. When you have seen schonmal burning candles at a blues concert?
The appearance of Paul Ubana Jones matched the stage setting, as it could hardly have been more perfect. Jones, a New Zealand singer with a throaty voice and wild-maned Maori played acoustic guitar with a verve reminiscent of the "Woodstock veteran' Richie Havens. He also reminded of a gentler form of the artist, because Jones only played his own compositions, was thus both a poet and songwriter. Paul Ubana Jones brought a harmonious appearance, something ethnic, something songwriter. The whole thing would be stylistically somewhere between Bob Marley, Jose Feliciano, Angelo Branduardi and Richie Havens. A good appearance.
Then Keith Thompson, who simply went without much introduction to the stage and began his concert. Thompson seems to be a pleasant, down-to-earth type, no big airs, who primarily plays guitar and likes to play a song without much fuss. Keith Thompson is on the Swiss label "Brambus" under contract and therefore he always comes back here.
As for the music, Thompson plays straight ahead guitar blues played in the British tradition. So, as you might expect he plays a Fender Stratocaster direct into a Fender blues deluxe amp with little effects and he is not only stylistically but also comparable to the dexterity of Eric Clapton. Thompson is a much better guitarist than his profile might suggest. He plays extremely clean solos, played on the same guitar with and without Bottleneck, his guitar licks are quick as a flash. Also, Thompson's voice is good and the music appropriate.
The web site http://www.keiththompsonband.co.uk of the artist gives a good impression of his songs, click on it and off you go. At the concert he played fast Texas blues shuffles, slow blues, a few songs, for example the original composition “The Power of Love” was the title for a surprising radio friendly song. His covers included “Stormy Monday Blues” and “Tore Down”, but his own compositions sounded as good as some better-known titles.
Thompson was accompanied on set by a great drummer and a solid bass player
who cast a blues foundation of great strength. The songs were similar in construction,
A riff, two verses singing, a solo, another verse etc, but having said this,
he did this to perfection. It must also be said that Thompson, while technically
a brilliant guitarist, his solos are also quite creative, despite their note
perfection.
Overall it was a great performance, and when the heavens opened and the hail pelted much of the greenhouse, one had the impression that the heavens were applauding. In fact once or twice heaven’s applause was deafening!
Independence - Reviewer: Toxic Pete's Music Reviews
D'ya like a bit of slick, contemporary, electric blues? Well Keith Thompson Band have just the thing in 'Independence'. This superbly put together album is crammed with great modern blues which combines the precise guitars of Thompson with awesome brass and keyboards and 'as tight as a ducks' rhythm section. D'ya also like value for money? Well, 'Independence' runs at fourteen tracks and times out a just seconds short of an hour. Hey, that's pretty good value. Of course, value doesn't just mean price per track or per hour - the other consideration must be quality. And, 'Independence' covers that aspect too. This entire project is simply spot-on; engineered and produced to the 'n'th degree but without loosing touch with reality or impinging on musical flair - the cool blues vibe rides high throughout and showcases some great talent and experience. The songs have a fresh, vibrant, feel - and that's cool within this particular genre as so often originality is restrained by reliance on 'tried and tested' formulas - but not with Thompson and his band! Thompson and the band call upon all the nuances and flavours of typical wired-up blues whilst retaining buckets full of interesting twists and turns that ensure 'Independence' doesn't fall into that particular trap . 'Independence', although British through and through carries with it a mildly Americanesque feel. Thompson and Strangebrew lay down awesome and passionate instrumental work that sits easily with the emotionally packed lyrics; both are delivered on a backdrop of gutsy blues roots and jazzy vibes resulting in a stunning piece of work - a quality package from start to finish and from cover to cover.
Steel Strings & Bruised Reed - Reviewer: Blues In Britain, Jonathan Blackstaffe
This is Thompson's first acoustic release, but far from his first album. It is a mixture of songs for which he had previously been unable to find a home and old songs he has re-worked to suit the form. According to Thompson, acoustic is how he entertains himself, rather than his public, but, judging by this, perhaps he should, somewhat unusually, consider sharing his private proclivities more publicly, more often.
There is, you see,exquisite delicacy to Thompson's music, the sort of quality that terrifies when doing the washing up but engenders such enchanting pathos when found in art. Contributory to this delecacy is Thompson's sweet, yet modest vocals, his gentle, intricate acoustic plucking; the simplicity, even ascetism of what accompanies this; and, perhaps crucially, the modest contained air with which it is all performed. The consequence is not so much a sound as a mood, an all-consuming atmosphere of quiet tragedy, a very English sort of contained personal collapse.
SS&BR is fine in every sense. It's quality - understated and anything but overt as it is - is easily missed for the music is brave enough to reward the intentness of the listener exponentially. But reward it most certainly does. Rating 9/10.
Steel Strings & Bruised Reed - Reviewed in Blues Matters by Graeme Scott
Normally found fronting his band alongside members of The Climax Blues Band, this new collection of tracks finds Keith in mostly stripped back acoustic form and in the company of saxophonist Patsy Gamble. What I particularly like about this CD are the ausio dynamics of the production - the clarity is exemplary. The sax playing is certainly complimentary and held beautifully in check so that it is not overpowering. "Why can't You Be Good" kicks the album off with a nice driving beat. then it is off to Mississippi Delta for the tragedy of the floods in "Bad rain". When I listen to "Heart & Soul" I hear Bad Company's seagull in places. this is due to the sound of Keith's acoustic guitar and the pace of the track, not in any way related to the lyrics - those are completely different. Loads here to enjoy. I liked this a lot!
Postojna Blues Festival – Slovenia (Bluesnews magazine)
The time is 21.00 exactly and right on schedule Keith
Thompson and his band appear on stage. In 2005 Keith founded the current line-up
of the Keith Thompson Band, and so here we have at Postojna Festival, members
of The Climax Blues band, bassist Neil Simpson and drummer Roy Adams. In addition
we have Patsy gamble on Saxophone. In short this “Magic Brew”
of musicians are convincing as they hit the stage and perform at an exciting
pace. The band are opening act for the headliners “Ten Years After”
and will need to work doubly hard to win over the crowd who are awaiting the
main event. The band continued with hard hitting R&B and clean, concrete
elements of funk, which ensure the group come across as world-class. Initially
the crowd are content to watch and listen, lazily with beer in hand. In response,
Keith, with hairstyle, reminiscent of Joe Cocker led the band through a compact
set of adrenaline-imbued songs. The individual talents of the band members
soon became apparent with cutting edge solo improvisations from Patsy and
Keith, and a breathtaking solo from bassist Neil Simpson. The auditorium seemed
to awaken from their slumber!
Keith Thompson band were mainly playing material from their new album, “Independence”
and in one hour they convinced the audience that they were worthy of attention
and the crowd called out for more! The encore was an adaptation of Al Green’s
“Take Me To The River” and in this song the crowd really came
alive!
To summarize, Keith plays blues/rock in a very accessible fashion with explosive
energy. No messin’, just straight ahead, flawless, with an all or nothing
approach. You really must suck it and see for yourself!
Independence - Reviewed in Blues In Britain May 2006
This is an album of high-energy rock-blues. The band contains some seasoned players with a rhythm section of Neil Simpson on bass and Roy Adams on drums, both also regular members of the Climax Blues Band. On saxophone is patsy gamble and on keyboards is John Broomhall. For overall style think Gary Moore, Rory Gallagher and Bad Company.
Fourteen originals make up the disc. "Crash & Burn" is the title of the uptempo, funky opener which sets the tone for the album, with plenty of guitar work and some sax too to spice up the mix. "Emergency" is a strong song with good lyrics, a familiar guitar riff and a guitar hero finish! The next track, "Blue on Blue" is a funky chugger with good slide guitar and sax. Also liked the following track, "Preachin' The Blues", which appears in two versions. The acoustic take has tasty slide and also some harp from Keith. Then there is the full fat band version, a thumping rocker with some great guitar. Two more highlights follow: the powerhouse, "Heartbreaker" and "You Got The Better Of Me" with it's "Help Me" style riff. "Nothing At All" takes us into Gray Moore blues-rock ballad territory whilst "Young Girl" uses the classic Santana soul-funk riff and a bomping bass line. The title track is a guitar showcase with good hookline riff. The two part "Long Road Home" shows a number of influences. The first part has a Blind Faith, "Can't Find My Way Home" feel to it while the second part has a Peter Green style guitar intro but then has a "Layla-like" slide segment. The closer uses a Bo Diddley beat and acoustic guitars.
Although there are a number of naggingly familiar riffs
and rhythms used here, the numbers still come across as fresh and the energy
quotent is high. The rhythm section get a big thumbs up and greatly add to
the overall sound. Keith's vocals are fine and of course the guitar work is
top notch. This CD can only enhance the guy's reputation and is recommended
to all you blues-rockers out there. Rating 8/10
R. Jim Greaves
Independence - Keith Thompson Band - Reviewed in "Musician" (The Musician's Union journal)
Skyscraping blues guitar and Bryan Adams-style vocals from much respected Keith and his band Strangebrew exploiting the talents of drummer Roy Adams and bassist Neil Simpson. "Emergency" with it's mix of Stones' production and traces of "Witch Queen Of New Orleans" in it's main riff, hits the spot and lovers of classic British rock cannot fail to be courted by the sheer tightness of this five-piece group. There's an energy, a freshness and understanding on display here that is heartily reassuring when we've heard the blues rock songbook suffer at the hands of too many lesser lights. The first few seconds of "Heartbreaker" are a call to arms and the addition of cobweb-clearing blues harp and fluid rhythm section to the stew just completes the recipe. Blinding.
"Out Of The Smoke" - Reviewed in Blues Matters
The title of the album is derived from the name for
London "The Smoke", where the pioneer purveyors of British Blues
plied their art. Clearly Keith Thompson has been influenced by the inhalation
of this "Blue Smoke" and "Out Of The Smoke" is a testament
to his musical inheritance. This CD is rocking blues throughout with delightful
thick, warm tones from Keith's guitar.
All the numbers are home brewed with the exception of "Strange Brew",
the classic Cream track. The band consists of; Keith Thompson on guitar, vocals,
saxophone, harp and keyboards. Alleyn Menzies on drums, Lee Hunter on bass
guitar with several guest musicians on keyboards and brass. The album kicks
off with "Tumblin' Dice", a rocking blues number with quality electric
slide guitar. This number gets you hooked for what is a pleasant and superb
album. Keith's vocals are passionate and emotive throughout and the musicianship
of Alleyn and Lee etc. lays down a solid backdrop to allow Keith to express
himself admirably. The rendition of "Strange Brew" compliments the
"Power Of Love", another bluesy rocker; "Beat The System"
a funky number with a beautiful brass section and a heavenly sax solo. The
slow blues "Let You Go" has some soulful vocals and emotive playing
by the band. The penultimate track is "All Over Now" a rocking celtic
number full of reels, lots of changes in tempo, punctuated by several stop/starts.
The remainder of the album is no-nonsense blues. The sleeve notes are very
good with full vocal script. All in all this is a very good album with nothing
strange about this brew of musicians.
Paul Bufton
The technology that artists use to produce their music and make it available is changing rapidly. As huge corporate record companies struggle to maintain the old empire artists are having to be more creative in their approach in order for real music to survive. Some still play the lottery of playing to win the big deal while others carry on producing the music they believe in regardless. The internet has provided a market place for music and art of every genre and description. It's a revolution that brings the power of heartfelt music and art back to the people and declares that everything has a place! The exciting thing is that you can be a part of this revolution. The way in which artists like Keith Thompson resource their projects has had to change. But you can support them. We at Density Music would like you to be a participant. You can support the band and other density projects in many ways. You can be part of the revolution. If you have any skills or ideas, let us know! This is a whole new world of interactive creativity. Don't just be passive recievers. Become our partners in keeping the music and art we all believe in alive!
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