Richard Thompson
January 15, 1993
Lincoln Theatre
Mount Vernon, Washington
slipkid68 master

Hardware: Casio DA-R100 DAT and Sonic Studio DSM-6 mics

2022 Transfer: DAT > Sony DTC-670 Playback > Sound Devices USBPre 2 > Audacity 3.2.3 16/48 capture > iZotope RX and Ozone 8 MBIT + resample to 16/44 > FLAC > finishing via Audacity 3.2.3 and TLH

01. Intro
02. Easy There, Steady Now
03. Mingus Eyes
04. Two Left Feet
05. Shoot Out the Lights
06. Taking My Business Elsewhere
07. I Feel So Good
08. Al Bowlly’s in Heaven
09. Don’t Sit on My Jimmy Shands
10. Waltzing’s For Dreamers
11. 1952 Vincent Black Lightning
12. Ghosts in the Wind
13. Read About Love
14. Why Must I Plead
15. Shane and Dixie
16. I Misunderstood
17. Valerie
18. Danny Thompson Salutes Jan Johansson
19. Till Minne Av Jan (For Jan Johansson)
20. Shake, Rattle, and Roll
21. King of Bohemia

From the middle of his tenure with Capitol Records comes a master audience recording of Richard Thompson, accompanied by virtuoso stand-up bassist Danny Thompson. Aided by the fine acoustics of the Lincoln Theatre (in Mount Vernon, Washington, an hour’s drive north of Seattle), the duo arrangement sounds amazing: Danny’s rich bass lines are right alongside Richard’s guitar parts, making for a pleasing, majestic sound.

Whether you like what Thompson committed to tape in the Mitchell Froom era (from 1986 to 1996), there’s no dissent from a live performance like this, full of charm, intricate guitar playing, smart compositions, and unparalleled musicianship.

Mount Vernon was a workshop of sorts, delighting fans with new material and the sounds of the creative process at work. Thompson previews five tracks from “Mirror Blue,” which he’d begin recording in Los Angeles by month’s end. The balance of the set tilted heavily toward numbers from the mid-to-late-’80s on. Covers include a spotlight moment for Danny Thompson on “Till Minne Av Jan (For Jan Johansson),” from his 1987 solo record, “Whatever.”

The capture isn’t perfect: “Mingus Eyes” and “Two Left Feet” are incomplete, likely the result of a brief, inadvertent pause. And to ward off applause that felt rather close and pronounced, I dialed levels down between songs. Thus, there’s a bit of a roller coaster in those areas. On the whole, however, I’m happy with the recording. Whether another recording circulates, I don’t recall copying this ever.

Thanks to BK for mastering straight from the DAT and to slowburn for checking in, too.

Richard Thompson continues to write, record, and tour. Please support him and Danny Thompson and his projects, too.

Share it freely, and for free!

- slipkid68