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Thread: The All-inclusive Thea Gilmore thread

  1. #16
    Lyrical acuity and mum-smarts menju56's Avatar
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  2. #17
    Lyrical acuity and mum-smarts menju56's Avatar
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    Single "You're the Radio" released this week on Amazon and iTunes. Hope it can get into the charts.



    My previous post with the video doesn't work anymore so here it is:



    The special edition of the album features 13 individual lyric cards and "My Voice" as a bonus track.

  3. #18
    Why is this happening to me? beanstew's Avatar
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    Quote Originally Posted by menju56 View Post
    Single "You're the Radio" released this week on Amazon and iTunes. Hope it can get into the charts.
    She played it and a couple of other new ones at Cropredy. I might buy the single which is something I very rarely do as I'd like to see Thea get a decent chart position. The last single I bought was RatM Killing In The Name Of for the Christmas #1 campaign.
    Maybe for once, someone will call me "Sir" without adding, "You're making a scene."

  4. #19
    Senior Member Spartacus's Avatar
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    I bought it too. I doubt that it will do well on the radio though. It's Thea by numbers.

  5. #20
    Lyrical acuity and mum-smarts menju56's Avatar
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    HMV delivered the album early yesterday (which never happens for me!) so I've had the chance to listen before release date.

    Had a first listen and am impressed. Thea's voice grows in richness and range with each album. I am very pleased with the level of quality considering we've had three new studio albums in just over two years. This one has some very interesting new developments in the writing and arrangements and of course some familiar Thea trademarks. "You're the Radio" sticks out a little bit as a catchy, radio-friendly single but the rest of the material gets a little more experimental in parts ("Jazz Hands," for instance.) One thing that's new is that a number of songs feature brass and horns and it sounds fantastic.

    The box is very nice and I like the individual lyric cards. Will be listening more.

  6. #21
    Why is this happening to me? beanstew's Avatar
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    I've just ordered my copy.
    Maybe for once, someone will call me "Sir" without adding, "You're making a scene."

  7. #22
    Lyrical acuity and mum-smarts menju56's Avatar
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    Hope you like it - it's classic Thea with a new twist (based on first impressions.) Am going to listen again later on.

    Also, it's currently #13 on Amazon's music chart and #2 on the pre-release chart which I can't believe! Hope it makes the chart for her.

  8. #23
    Why is this happening to me? beanstew's Avatar
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    I'm looking forward to hearing it. Hopefully it'll arrive in a couple of days. I ordered the version with the cards. I'm a sucker for any kind of special edition.
    Maybe for once, someone will call me "Sir" without adding, "You're making a scene."

  9. #24
    Lyrical acuity and mum-smarts menju56's Avatar
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    Me too! Apparently the special edition was meant to have "My Voice" as a bonus track but there was an error at the pressing plant so it's not there. Nevertheless it's a very nice package and I like the album more with each listen. The production and arrangements are so clear and her voice is in fine form. There was what felt like such a big gap between Avalanche and Harpo's Ghost but we've been a bit spoiled lately with three new albums in just over two years! I'm liking it though.

  10. #25
    Lyrical acuity and mum-smarts menju56's Avatar
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    New article from The Independent

    Why is one of Britain's most accomplished songwriters not better known? Will her latest release redress that injustice? These are the questions customarily raised whenever a new Thea Gilmore album arrives.

    Now aged 30, the singer/songwriter from Oxfordshire has toiled on the margins for over a decade, often on albums repeatedly touted as the one that should earn her mainstream acceptance. In a timeline on her website, Gilmore describes two as "alleged 'breakthrough'" records – 2001's spiky Rules For Jokers and 2003's more thoughtful Avalanche.

    The solo artist releases her ninth full-length studio album this month, and it's an unexpected bonus to report that Murphy's Heart contains some of her most accessible work to date.

    Sitting on a leather sofa in an office off London's Carnaby Street, Gilmore is dressed all in black, a reminder perhaps that all is not sweetness and light on her latest album. Still, the unashamedly romantic "You're the Radio" is her most wireless-friendly single to date, while long-term Gilmore-watchers will probably be gobsmacked by the lustful "Teach Me to Be Bad" – "No, I'm not hard to please/ Boy get on your knees".

    Nowadays pop is littered with barely hidden double entendres and graphic sexual imagery, but over the past nine years Gilmore has avoided lust and treated love as a minefield scattered with mantraps. "I've found it a lot easier to be happy in song all of a sudden and it's made my writing more mature and less fearful," she explains. "There's something about hitting 30, having a kid and suddenly not being frightened to talk about it or having to apologise for those feelings. When you're in your teens or your twenties, you feel that if you allow yourself to let them show you'll look soft, while now I think it's the toughest thing you can experience. You want to be all hard and dark when you're younger, but now I just want to tell the truth."

    Gilmore readily admits that erecting such a facade was actually a defence mechanism. "I've had many, that wasn't the only one. Using as many words as I possibly could was a way of putting walls up between me and other people. Lyrical dexterity meant no one knew what I was really feeling and I battled that for quite a long time. It was a process of looking at what I was writing, paring it down and peeling away the layers. Where's the truth? What are you trying to say? For the first time, really, the core of these songs, you can see right through to the centre of them."

    Over the past decade, Gilmore has fought depression and finally settled down with her long-term producer and partner Nigel Stonier. Now she seems able to let down her guard and write about personal feelings.

    "It ended up being a love album and I wasn't planning that at all," the artist admits. The breakthrough came with "Wondrous Thing", one of the songs that refers to the birth of their son, Egan, now three-and-a-half years old. "It is unreservedly positive and it wasn't a song I was intending to write, but I suddenly became aware I was talking about having a kid and I was so anti that – everybody writes one – but I managed to get into it the absolute terror that most people feel when [babies] arrive and you're totally responsible for someone else's life. You feel that this massive thing has happened to you and that the whole world should stop and look in on you and say 'wow', but it doesn't. It just keeps on going. I wasn't aware that it had changed my perspective until I lined these songs up and I realised there was a much more positive spin.

    "I think it has been inevitable, though being a mother has made me outwardly angry," she adds. "You've got that protective instinct that makes you want to punch anything that's not right. In that respect, it's made me more assertive."

    Oddly, writing about the effect of motherhood seems to have been a delayed reaction. Back in 2006, Gilmore was heavily pregnant while promoting Harpo's Ghost, yet there was little sign of her new-found tenderness on its follow up, 2008's Liejacker. Maybe there was a hint of it on last year's well-received, Christmas-themed work Strange Communion, with her wry seasonal near-hit "That'll Be Christmas".

    "It's been a gradual transition, an acceptance that it's not a terrible thing to be positive," she concedes. So was Gilmore avoiding the issue of motherhood? "I had to get over the shock and blind terror of it," she laughs, then, with a steely edge in her voice: "There was a fear of letting it in. After I made Harpo's Ghost and found out that Egan was on his way, there was a lot of secrecy about it because I was on a big label and we thought the shit would hit the fan. There was a huge feeling of, 'she's pregnant, she's not going to want to make music anymore or be able to do it'," Gilmore continues . "As soon as you bring kids into the fray, everyone thinks your career is over, so I decided to wrap things up a lot. You can hear some of that in Liejacker, where I totally ignored this and paid no heed to this major thing. In a lot of respects, I actually worked harder, toured harder."

    Murphy's Heart is not all champagne and roses, though. Gilmore is particularly adept at the aching vulnerability of love, especially as regards the life-changing emotions of motherhood. As she softly sighs on "Mexico", "Come a little closer so I can trace your eyes/ And copy that light onto my insides."

    "Those moments of happiness are fleeting, but love remains," the artist warns. At least Gilmore finds herself on a more even keel. She has found a smaller label happy to indulge her idiosyncrasies (no picture of her on the record sleeve) and also developed a fervent online fanbase, via her subscription service Angels in the Abattoir. Launched a year ago, the club offers an exclusive monthly download amongst other perks, including meet-and-greet sessions and lotteries to suggest cover versions for Gilmore to sing. This way, she maintains a relationship with hardcore fans independently from her label and, importantly nowadays, opens up another revenue stream.

    Above all, she has her rock in Stonier – husband, producer and occasional co-writer. Even if the stubborn lyricist admits that she is not always the easiest person to work with. "I get very autocratic and all the politeness disappears. It is a testimony to his talent, really; Nige's very good at knowing when to back off with anybody; he knows there's a point where every writer needs to feel they're holding the reins." Gilmore, you believe, is firmly in control of her own destiny.

  11. #26
    Just found this thread

    Finally got the special edition of Murphy's Heart, not given it a proper listen but there's some great tracks - This Town, God's Got Nothing on You, Love's the Greatest Instrument of Fear.

    Its cool seeing your name in the album sleeve too

    Foo
    xx

  12. #27
    Thanks to this thread, I checked my local venue - the Sage, Gateshead and she's playing in December! Wohooo!

    xx

  13. #28
    Why is this happening to me? beanstew's Avatar
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    Mine hasn't arrived yet. "Awaiting stock" according to play.com. I guess they're getting a repressing with the last track.
    Maybe for once, someone will call me "Sir" without adding, "You're making a scene."

  14. #29
    I had a order with Play.com but cancelled it. Thea reckoned they weren't going to get anymore. I've seen a few of the limited editions in the HMV near to me, could be worth checking.

    Foo
    xx

  15. #30
    condemned to wires and hammers ebby's Avatar
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    Youtube hopping, I came across this lovely live-in-studio version of "Old Soul"


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