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    Pick your jaw off the ground

    Richard Thompson goes guitar hero on the ridiculously good Dream Attic

    Jim Beviglia
    Aug 30, 2010 | 5:05 pm
    • Richard Thompson makes extended guitar riffs works on his new album,
    • You'll be surprised by just how good Dream Attic is.

    Let me be the first to say that it is rare that I’m overly impressed by someone going off on a long guitar solo during a rock song. It usually ends up being indulgent and rarely serves the song. On the contrary, it’s often just a way to prop up a sub-par tune.

    With that disclaimer out of the way, I can honestly say that there were moments when I listened to Richard Thompson’s new album Dream Attic when I found myself slack-jawed in awe at what this man was doing with those six strings. This is what a guitar hero is supposed to sound like.

    It helps that Thompson had the novel idea to record these 13 new original songs live in front of an audience. You’ll only notice the crowd applauding at the end of the songs or after one of Thompson’s breathtaking runs, but the live setting gives the bandleader and his band an excuse to explore every nook and cranny of this material and to produce a powerful noise without the aid of touch-ups or studio trickery.

    It also helps that Thompson, as songwriter, provides the proper framework for all of the instrumental exploration. Whether the song is a jaunty rocker like “Haul Me Up,” giving Thompson a chance to show off his rapid fingers, or a sprawling ballad like “Stumble On,” in which he delivers subtle commentary at the end of every line, the playing always synchs up with the song.

    It sounds simple, but it’s a rare quality these days, and a quality that makes even the lesser songs here sparkle.

    Thompson has assembled a crack band to do his bidding, and he lets them each get their share of the spotlight, even though most every song is anchored by a solo somewhere along the line. It’s not your usual rock instrumentation however, as saxophone, violin, and pipes give off the Celtic flavor that fans have come to expect from the former leader of Fairport Convention.

    For example, “Among The Gorse, Among The Grey” is a sad folk parable that sounds as if it could have been recorded hundreds of years ago, while “Demons In Her Dancing Shoes” is the rare rock song that can cause involuntary step-dancing among its listeners. These genre exercises aren’t the standouts, but they’re done well enough that they don’t descend to novelty level.

    Thompson’s winningly snide sense of humor gets its due here as well. Opener “The Money Shuffle” takes aim at scheming money men who take advantage of unsuspecting regular folk, while the hilariously on-point “Here Comes Geordie” will likely leave certain Hollywood stars with ears burning due to its depiction of narcissistic and brainless do-gooding: "Good old Geordie righteous as can be/Chopped down the forest just to save a tree.”

    The songwriter’s longtime interest in the underbelly of society is reprised as well.

    “Sidney Wells” features a typically blistering solo in the service of a tale of a working-class murder, while the fantastic “Crime Scene” is even better, a meditation on brooding violence that builds from quiet contemplation to a maelstrom of fury, both lyrically and musically. Thompson’s underrated singing shines on the latter song, as he voices the impotent frustration of those left in the aftermath of a violent crime: “I can’t aim my rage at fate/Where’s the face to pin the hate?”

    There are standouts almost too numerous to mention here, and it all winds up with Thompson’s axe-wielding piece de resistance on the closer “If Love Whispers Your Name.” He takes off in the second half of this long song on an anguished tear that goes on for several minutes, endlessly varied with each new bar but always eloquently expressing the song’s theme of a man who frittered love away once and can only hope that it comes back again.

    When it, and Dream Attic, is all over, you’ll likely stand up and applaud in conjunction with the crowd on the disc. This album is not a rock journeyman churning out product; it is the work of a virtuoso inspired and at the top of his game.

    Make sure to listen to it while sitting above some soft surface, so you won’t get too hurt when your chin hits the ground.

    Adobe Flash Required for flash player. "Sidney Wells"

    Adobe Flash Required for flash player. "Among the Gorse, Among the Grey"

    Adobe Flash Required for flash player. "If Love Whispers Your Name"

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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