I’ve been a fan of British entertainment, especially comedy, since I was a little kid. The first time I saw Benny Hill on Channel 9 at a past-my-bedtime hour, I knew it was something special. Not because it was particularly funny (which at the time I thought it was), but because it was unlike anything that the U.S. was making. Then I discovered Paul Hogan (true, an Aussie, but still under the UK banner). Then came the Comedy Holy Grail of Monty Python’s Flying Circus . I couldn’t get enough of Monty Python and of course, Fawlty Towers. This led to more contemporary works like The Young Ones and Black Adder and Red Dwarf, and I’m still hooked.
One thing that has been in the back of my mind for quite some time is the Brits’ constant use of World War II in their entertainment. Comedians, writers and musicians of a certain age tend to use WWII as a component of their work. This came up again in Bruce Robinson’s book. It is a constant in Richard Thompson’s work. It is essential to latter Roger Waters work, both in and out of Pink Floyd. Monty Python plays around with it, and many other comedians do too.
I think Americans lazily think of the British as pretty much like us. And this has been even more prevalent with the recent Bush/Blair relationship. And despite my love of British entertainment, I am guilty of imagining the Brits to have similar shared experiences (common language can do that I suppose). So, it made me wonder why we in the U.S. don’t seem to have WWII so ingrained in our cultural entertainment. Sure, we have our swing bands, and the iconic photographs and even Saving Private Ryan. But it seems like we have a “Mission Accomplished (for Real)” checkmark next to it, and we’re happy it’s over and that’s that. Even in my family, my dad was in WWII, and yet it wasn’t really a big deal when I was growing up, or even in his personal history. Weird.
It was then that my wife reminded me that the British were bombed in the war, that it really hit home for them in a way that it never did here. Even though Pearl Harbor was American soil, and we did experience air raid drills and blackouts, we didn’t have the impending threat and fear as directly as the British did. All of this is of course common knowledge, and I feel foolish for not thinking about it before. And yet, somehow I never put these pieces together. Of course, British artists were impacted by WWII because it directly impacted their lives, their towns, their families.
There really isn’t a point to any of this other than to stop wondering how come there’s another British song/story/joke about WWII. I’ll just go back to enjoying it.
SOUNDTRACK: SQUEEZE-Singles 45s and Under (1982).
This record came out in 1982. When I was in college in the late 80s, we used to joke that every freshman was issued a copy of Steve Miller’s Greatest Hits, because it was played virtually every day by someone. It seemed that Squeeze’s Greatest Hits may have been issued as an alternate. I never really thought much of this record back then. I enjoyed it, especially “Pulling Mussels From a Shell,” but I never really considered the quality of the record. Since then I learned that Difford and Tilbrook are up there with Lennon and McCartney and Jagger and Richards, or, if not that grand, at least with Forster and McLennon of the Go Betweens. So I grabbed this CD to play at a party and gave it some scrutiny, and I have to say it is a terrific album. I know for a Greatest Hits, it should be, but man, they can write songs that are stories, or observational or even funny and yet not sound twee or noveltyish. 
SOUNDTRACK: RICHARD THOMPSON-Small Town Romance (1984), Guitar Vocal (1976), Starring as Henry the Human Fly (1972).
Small Town Romance: This is a collection of live solo recordings in NYC from 1967-1982. The sound quality isn’t always the best, and RT’s voice isn’t always up to snuff. I’m thinking that all the songs are Richard & Linda or Fairport Convention works. I don’t like the early material as much as his later work so, aside from appreciating the venues and the cozy atmosphere, this isn’t a favorite disc of mine. 
SOUNDTRACK: RICHARD THOMPSON-Sweet Talker (1992), Mirror Blue (1994), You? Me? Us? (1996).
Sweet Talker. I found this used. It’s a mostly instrumental soundtrack to a film no one (including me) has seen. There are a couple of “real” songs on it, but mostly this is notable for the origin of “Persuasion” a tremendous instrumental song that RT has reintroduced in recent times with lyrics. I think as a duet with Tim Finn. I’ve also heard it as a duet with his son Teddy, and it is truly a great song. This album can easily be overlooked though (even though, blah blah blah the songs are solid and well played, they are mostly just designed as background music).
Mirror Blue
You? Me? Us? As I mentioned before, this is the first RT album I ever bought. Weird place to start I guess. It is designed as a double CD with a Voltage Enhanced and a Nude disc. As you can tell the one disc is electric rockers, the other is acoustic (somewhat solo). My only gripe with the record is that usually the balance of soft and hard songs really compliments the record nicely. So, with this one, you don’t really have that. I also realized that since I was more of a rocker when I bought this, I listed to the Voltage disc a lot more than the Nude side. And why not? “Razor Dance,” which appears on both, and is strong in both incarnations, is really just sublime in the Voltage version. Such rage and such a great choppy electric guitar. This song really sold me on RT. Some other great tracks are “Dark Hand Over My Heart,” “Put It There Pal” (most of the lines of this song are always running through my head), and “The Ghost of You Walks.” A beautiful ballad is “She Cut Off Her Long Silken Hair.” I don’t have as much to say about the Nude side, even though I did listen to it twice today and it was all pretty familiar and good. I guess I think they did two versions of “Razor Dance” and “Hide It Away” and figured they’d make it two discs instead of one long one. Which is fine. I would have liked the two discs intermingled is all.
SOUNDTRACK: RICHARD THOMPSON-Industry (with Danny Thompson) (1997), Mock Tudor (1999), 1000 Years of Popular Music (2003).
SOUNDTRACK: RICHARD THOMPSON-Across a Crowded Room (1985), Daring Adventures (1986) & Rumor and Sigh (1988).
Across a Crowded Room. The only flaw I found with this one was that the backing singers and instrument choices really tend to date this record in the 80s. Some of the songs get a little bogged down, especially when compared to the raw live versions. That said, this disc has five songs that I think are amazing, and that’s just scanning the title list. “When the Spell is Broken” and “She Twists the Knife Again” just show the amazing range of styles that RT can pull off, from beautiful heartbreak to bitter rage. Stunning.
Daring Adventures. 
Rumor and Sigh. Wow. This is a high point. “Read About Love,” “I Feel So Good” (one of the greatest balls out rockers that no one knows about!), “I Misunderstood” (oh, emotional heart wringing right after the rocker!). And, here’s what I’m talking about regarding the timelessness of RT, “1952 Vincent Black Lightning” (such a great, tender song about thugs) came out in 1991!? at the same time as “I Feel So Good?” That song simply has classic written all over it, and here it is barely 15 years old (and hey if that’s a long time to you you must not be over 30 yet). And “God Loves a Drunk,” such a sad mournful song that I first heard in a great cover by Mary Coughlan. And this is an aspect not really talked about yet…the number of songs he’s written that others have covered and–proving how great a songwriter he is–how others can makes them sound equally good. Must…stop…gushing. Since you’re here, go check out Richard’s 
SOUNDTRACK: RICHARD THOMPSON-Strict Tempo (1981), Amnesia (1988) & Hand of Kindness (1983).
