Sing Out! The Folksong Magazine
Martha Schuyler Thompson CD: No Visible Means of Support
Label: Cottage Industry Music
"Martha Schuyler Thompson has been crafting her own music for over a decade in what she calls a cottage industry, which in fact, is a small cottage behind her home. She produced and mixed the recording herself, leaving only the engineering to someone else. Thompson never followed the crowd. You won't mistake her for a Joni or Ani wannabe. Her music craftily fuses techno-pop, rock and acoustic folk. Her voice mutters, growls, sweeps and soars. She plays about a dozen instruments on this recording, with a trio of accompanists also playing multiple instruments that range from guitar and bouzouki to socket wrench, tuning gear ratios, bagpipes, glass bottles and pick axe. The sound is far from anarchy, although it will make you sit up and take notice. There are some fairly simple folk-style tracks such as "A Single Soul," "Novena" and "Is That Love I Hear," the latter a song for peace in our troubled time. Most of the subject matter of her eleven original songs stem from a year she recently spent in Ireland. Even when the topics don't deal directly with Ireland they are imbued with the spirit. Thompson sings with absolute conviction in her idiosyncratic style that you won't confuse with a record shelf of navel gazers. If you're in search of something poetic and refreshingly original, Thompson may be the artist for whom you've been searching."
-RWarr
© 2003 used by permission
Roots
Music Report, CD Reviews
Martha Schuyler Thompson CD: No Visible Means of Support
Label: Cottage Industry Music
Rating: *****
Genre: Folk
This lady from Oregon can sing!
Martha Schuyler Thompson performs wonderfully on this album.
Her persona shines with this selection of songs all written by Martha,
including some fantastic Irish storytelling. Mixing, Production, Vocal
and Songwriting all done by a lady with the talent few have achieved. This record will surely receive the radio airplay it deserves.
-Robert Bartosh
© March, 2003 used
by permission
The
Berkshire Eagle, Spins
Martha Schuyler Thompson, No Visible Means of Support
(Cottage Industry Music)
There is an irony in the title of Martha Schuyler Thompson's seventh
CD. Although the songs on "No Visible Means of Support"
variously explore people in challenging circumstances that they're
not always up to, there is a fierce, determined strength, an emotional
maturity, behind them all.
Thompson conveys that strength through her carefully controlled vocals
and the spare production on these rootsy, Celtic-influenced original
folk songs that emphasize Thompson's virtuosic fretwork on an array
of stringed instruments, with subtle, painterly, atmospheric accompaniment
provided by bass, percussion and keyboards.
-Seth Rogovoy
© March,
2003 used by permission
Dirty Linen, The magazine
of folk and world music
Martha Schuyler
Thompson, Blame The Dog [Cottage Industry CIM08011
(2000)]
Songwriter Martha Schuyler Thompson comes out growling on her latest
effort, Blame The Dog. She's further refined her big, aggressive
sound, playing more Dobro, resonator, and electric guitar than in
the past. There's certainly nothing wimpy or whiney about her music.
The backing band (bass, drums, keyboards, with Thompson playing all
guitars) is tight, with occasional saxophone adding a bit more toughness.
But halfway through the recording, Thompson steps back and lightens
up, softening her voice and slowing the tempo. The results are equally
compelling. One thing that hasn't changed is her songwriting. It's
still as intelligent and thoughtful as ever, as she offers up pointed
observations of the world around her. Thompson's music is a sure antidote
for those suffering from the bland-singer/songwriter blues.
-Jim Lee
© October/November 2001 ~
#96, used by permission
thelist.ie, Ireland's
Essential City Guide Network
Blame The Dog
Not many Galwegians will have heard of Martha Schuyler Thompson, but
once you have its hard to forget her. The Oregon born singer-songwriter
possesses a voice that has been described as "powerful...roaring
and growling when the lyrics call for it..." but don't let that
scare you off! Thompson's blend of music and songs stretches over
a diverse range of genres from blues, gospel and folk to pop and Celtic.
She is currently living in Galway with her family and touring around
in support of her new album Blame The Dog.
Thompson has already played gigs in Whelan's, Dublin, The Lobby Bar
in Cork and Roisin Dubhs in Galway. She is very excited at how her
music has been received so far, especially in Galway. "I wasn't
sure how it would come across" she says, adding that she had
been unaware of just how popular American folk actually was in this
country. Though she has been here only three months, Thompson has
already written several songs about her time in Galway. "It's
a fun and exciting place to be right now" she says. "It's
right in the middle of a transition...with such a huge influx of people.
I find that change and shift very inspirational."
Thompson's 'Cottage Industry Music' recording label celebrates its
10th anniversary this year and has so far released six of her albums.
The latest Blame The Dog is a compilation of songs detailing
middle class American life delivered in Thompson's passionate and
unique style. A variety of instruments are used on the album including
harmonica, keyboards, organs, saxophones and drums backing up Thompson's
acoustic guitar and other stringed instruments. The album appeals
to a variety of tastes - many of the songs are bluesy/folk orientated,
yet the first song -- and several others immediately puts you in mind
of Alanis Morissette's musical style. Highlights of the album include
the rousing "Hell's Kitchen" and the gentler "You Humble
Me" dedicated to Sloan Wainwright...Thompson will be playing
some more dates in Roisin Dubhs in late May/early June. Watch this
space for details.
-Lorainne Cryan
© May 9, 2001 - issue
#97
Magpie Magazine, Music
Martha's Cottage Industry
With her prodigious song-writing abilities, it's hardly surprising
that Martha Schuyler (pronounced sky-lar) Thompson can be relied on
to talk up a storm. "I'm sorry if I rambled on," she says
towards the end of our phone interview, but at least she's got some
interesting things to say for herself, so you don't hold her loquaciousness
against her. Thompson is half-way through a six-month residency in
Galway, where her husband Jim is teaching art to the 21 American kids
enrolled in the Irish studies programme at NUIG. "We couldn't
pass it up," she says of the opportunity they got to live in
Ireland for a while. "We're having a blast."
Same goes, she says for the couple's 13-year-old son Will, who has
been enrolled at the Jez since their arrival in January. And why wouldn't
he be enjoying himself, having the luxury of skipping Irish classes
while his schoolmates toil over their modh conniollach. So far, Thompson
has played one gig at the Roisin Dubh, and she says owner John Mannion
is trying to arrange more dates for her. An extremely positive mention
in The Irish Times ("her meaty, occasionally bluesy style [is]
a cross between an even more gravelly-voiced Melissa Etheridge and
more folky Mary Chapin Carpenter") can't have hurt, and Thompson
is a whiz at the promotion game, having the foresight to attach plenty
of clippings to her press release to bolster the impression that this
is a woman with a devoted fan base.
Back in her home town of Salem, Oregon, there wasn't much airplay
or media coverage devoted to Thompson's blend of folk and blues, at
least not until the Detroit native started up two concert series in
the music studios behind her home, garnering a respectable audience
for the work of other singer-songwriters. "There's no real songwriting
community there," she explains, "that's why it's so great
here."
Her Cottage Industry Music recording label and publishing company,
which celebrates its 10th birthday this year, has so far released
six of Thompson's albums. The newest, Blame The Dog, was released
in January of this year, after which she and her family high-tailed
it to Galway. "I don't even have a [publicity] picture with me,"
she laughs. "We moved that quickly." Of her years in the
music business she says, "It's been really fascinating, really
fun, really rewarding and really hard work. I won't lie about that."
She started Cottage Industry Music originally as a way of doing what
she wanted to do with her music, without having to leave her baby
son to do extensive tours for very little money. "And I know
this sounds corny," she adds, "but when I became a mom I
felt it was important for me to do something not only for me but also
that would benefit my community, something that would show my son
that I was doing something I loved and it would give him the inspiration
to do something he really wanted to do."
She is blessed in her musician friends, who include Stacey Earle (sister
of Steve) and Sloan Wainwright...Quite a lot of friends with famous
sibs, then, Martha? "Well, only recently," she laughs. "Because
no one lives in Oregon." She and Wainwright have gigged together
on numerous occasions and a song called "You Humble Me"
on Thompson's new album is dedicated to the New York based singer.
Meanwhile, life in Galway is good, and although Thompson intended
to "take things easy, kick back and have some fun," she
has instead found the songs flowing through her, much in the same
way as the River Corrib flows beneath the window of her Dominick Street
abode. Some of the songs, she says, are about Galway. Watch out for
that seventh album.
-Darina Molloy
© April 2001, Issue #35 used
with permission
Galway Advertiser (The
West's Biggest Newspaper), That's Entertainment
Martha Schuyler Thompson, US
singer/songwriter, in concert at Bank of Ireland Theatre, NUIG, April
3
Martha Schuyler Thompson, the Salem, Oregon singer-songwriter (currently
living in Galway) will perform work from her new American roots release,
Blame The Dog (Cottage Industry Music label), at Bank of Ireland
Theatre at NUI Galway on Tuesday April 3 at 8:00 pm. Tickets are £5.00
and are available at the box office.
© March 29, 2001
The Berkshire Eagle, Sunday
Magazine
Spins
Martha Schuyler Thompson Blame The Dog (Cottage Industry)
Oregon singer-songwriter Martha Schuyler Thompson has practically
invented her own genre: call it the domestic blues. Few can wring
out the sort of passion and protest from the mundane realities of
everyday life that Thompson finds in songs like "As Far As I
Can See" and "He's Got a Mind of His Own." It helps
that she has on hand a group of rootsy musicians that color her folk
funky, and Thompson herself is a multi-instrumental threat on guitars,
dobro and banjo. Mostly, it helps that she brings a light lyrical
touch and a gifted wit to numbers like "The Road to Salvation,"
in which laundry chores get equal billing with spiritual transcendence.
-Seth Rogovoy
©February 25, 2001 used by permission
The Irish Times, CD Reviews
("Roots Choice" ***)
I'd never heard of this
strident Salem, Oregon, singer/songwriter/producer before this collection
on her label and I wouldn't bet on hearing from her again; the US
is literally awash with wonderful undiscovered songwriters following
their own idealistic muse. That is not to say Thompson's strong, expressive
voice -- both vocally and lyrically -- isn't worthy of investigation,
nor that her meaty, occasionally bluesy style, a cross between an
even more gravelly-voiced Melissa Etheridge and more folky Mary Chapin
Carpenter inclinations, lacks impact. But though her influences are
as eclectic as one would want, Thompson herself tends to be a little
overbearing, not surprising when her punchy if not particularly memorable
songs aspire to "holding a magnifying glass up to the American
middle class."
-Joe Breen (CD reviews compiled by Tony Clayton-Lea)
©February 14, 2001 used by permission
Folk & Acoustic Music Exchange,
Reviews
If you like strong women with
boisterous, throaty, growling voices, this is the album for you. Thompson's
relentless vocal stylings permeate her latest release, Blame The
Dog, and keep it well on the bluesy side of folk. Although she
occasionally dips down into the subtler, more restrained realms of
acoustic music (as she does in the album's stand-out track, "You
Humble Me", for instance -- an emotive ballad written for friend
and fellow singer/songwriter Sloan Wainwright), Thompson spends the
better part of her time showing off the ballsy woman within.
Perhaps the best aspect of this album, though, is the balanced and
interesting production, for which Thompson, herself, can take full
credit. Blame The Dog shows off her many musical influences,
as it slides almost seamlessly from the Gospel-laced "The Road
to Salvation" to the rootsy, bluesy "Roadhouse Blues"
to the curiously Middle Eastern-sounding "World Without End."
None of the transitions are jarring, though, and the production shows
a keen ear for musical balance and instrumentation. A band of talented
musicians including Curtis Salgado, George Mitchell, Warren Rand,
Gordon Rencher, and Brian Casey (on harmonica, keyboards, organs,
saxophones, drums, and bass, collectively) mesh well to compliment
Thompson's own vocals and various stringed instruments (guitars, dobro,
and banjo, to name a few).
In a genre too often plagued with limp, lifeless voices, one thing
Martha Schuyler Thompson will never be accused of is making wimpy
music.
-Kerry Bernard (Edited by David N. Pyles)
©2001, Peterborough Folk Music Society used by permission
fmqb,
Adult Radio
Schuyler Thompson is a big favorite of ours. Her latest release, Blame
The Dog, proves that her last album was no fluke. Martha's picked
up a few more instruments and seems to have mastered anything with
strings that she's ever touched. If that weren't enough, her songwriting
is impeccable and her versatile voice more than does justice to the
songs. We highly recommend: "He's...," "As Far...,"
"The Road...," "Hell's Kitchen," -- do yourself
a favor and listen to the entire album.
-Sybil Maguire, Progressive Music Director
© December 8, 2000 fmqb used by permission
Music
Matters Review
Martha Schuyler Thompson approaches a song in much the same way that
Janis Joplin did. She's got a powerful voice and doesn't mind roaring
and growling when the lyrics call for it, which they do quite frequently.
Fortunately the intensity of the lyrics is matched by the substance
of her subject matter. Being told that there is something wrong with
you for just being who you are, should be enough to bring out the
tiger in any singer. For me it is her more reflective songs that are
the gems of this collection. "Casting My Net" uses the act
of casting a net for fish as a strange and powerful metaphor for the
emotions of pregnancy. In "Piece Work," memories of a grandmother
who narrowly escaped the Holocaust only to come to harm in the United
States, haunt and comfort the singer. The imagery is unusual -- the
protagonist's occupation as a dressmaker inspires a comparison of
cutting cloth to a search for identity. If you like your music strong
and honest, you will want to check out this unique and provocative
artist.
-Michael Devlin
© 1999 used by permission
Dirty
Linen
In an age of polite, even-voiced singers, Martha Schuyler Thompson's
big, soulful voice really stands out. She can belt out a song like the
opener "All Right Without You" with a sax and powerful rhythm
section and still command attention, yet be equally compelling on a
slower, mellower ballad like "The Wild Grasses." Thompson
wrote all 12 songs, many of which deal with life on the road (including
the humorous title track, "Road Kill"). Others present the
listener with strong female characters dealing with real problems. Musically,
the backing ranges from the very simple to full bass, drums, and keyboards
backing her acoustic guitar. A strong new voice in acoustic music.
-Jim Lee
© 1999 used by permission
Sing
Out! The Folk Song Magazine
Martha Schuyler Thompson attacks each word with
a passion, often growling the lyrics to her pop-flavored material. The
opener, "All Right Without You," percolates with a Motown
flavor, including organ, saxophone and scat. "A Heart That's True"
continues this sound, reminiscent of early '70's rock. She settles into
a more acoustic, late '90's singer-songwriter groove on the third track
with the intriguing "Casting My Net," intertwining fishing
images with those of bearing a daughter.
"Piece Work" tells, presumably, of her grandmother's
rescue from a concentration camp by an American soldier. We hear of
her grandmother's plight, and find her career as a dress designer serving
as a metaphor for the singer's life of ambivalence. Hollis Taylor's
violin adds a nice flavor to this song.
"The Wild Grasses" is a pretty, acoustic piece.
"Prairie Schooner" is one of the better "road" songs
that's come down the pike. Thompson wrote the dozen songs here, and
though her rock-sounding material clashes with the folkier sounding
songs, the recording leans much more in the latter direction. In the
end, this is an engaging and interesting release, from a writer with
an effective, powerful voice and original style.
-Rich Warren
© 1998 used by permission all rights reserved
FAME
Magazine
When I sat down to read the lyrics of Martha Schuyler
Thompson's latest CD Road Kill, I nearly drove the friend seated
beside me insane. As he tried, in vain, to read a book, I found myself
constantly slapping him, saying, "Oh! Oh! Listen to this line!"
Irritated though he was by my frequent interruptions, he couldn't help
but enjoy the lyrics as much as I did; they're that good.
On Thompson's newest release on her own label, Cottage
Industry Music, she lives up to her reputation as being articulate and
colloquial in the same breath, witty and poignant in the next. With
a voice and style that could be passed off as belonging to the bastard
child of Mary Chapin Carpenter and Laura Love, Thompson layers extremely
quotable lyrics over strong, guitar-based tunes (with some wonderful
bass, fiddle, and, believe it or not, "assorted auto parts"
percussion thrown into the production). The end product is an album
of articulate, memorable songs -- the kind you find yourself humming,
even when you've only heard them once.
And Road Kill is an aptly named album if ever
there was one. The entire framework for the album seems to be one of
traveling, in both a literal and figurative sense. Though the title
insinuates a cynical twist to traveling's usual "heading for something
new and wonderful" connotation, Thompson seems to give her audience
the sense that, like anything else, journey's have their ups and downs
-- one minute you're on a smooth, open highway, the next you're bouncing
over a dusty dirt road. Two songs that perfectly illustrate this oxymoronic
reality are "Prairie Schooner" and the title track, "Road
Kill:"
So I drove on through Chicago with a half a tank of gas
Heading toward the sunset on this westbound overpass
Turned the radio up loudly as it played a country song
The reception cackled wildly and I sang the words all wrong
-- "Prairie Schooner"
Contrast "Prairie Schooner's" sunset in the
distance and wonderful image of a woman belting out invented lyrics
to country tunes to this sombre (yet somehow witty) verse from the album's
title track:
And now there's bones up in my chassis
And blood upon my wheels
A carcass on the interstate
And I know how it feels
-- "Road Kill"
Thompson, herself, admits that the inspiration for many
of the songs on this album was the experience of having been on the
road, enjoying the new adventures that touring brought her but also
missing her family at home. That bittersweet journey -- the joy you
feel as you pull out of your driveway and take off for a new place followed
by the even greater joy you feel when you pull back into that driveway
a few weeks later -- peppers Road Kill and adds to its overall
quality of earthiness and familiarity. Though the album has a sense
of "sameness" to it, in the sense that the songs all draw
on a very similar musical style (an eclectic mix of folk, rock, blues,
and twang), the style is a solid one and is one that works well for
Thompson. The result is a strong album of strong songs written and performed
by what is, obviously, a very strong woman.
- Kerry Bernard (Edited by David N. Pyles)
© 1998, Peterborough Folk Music Society used by permission
fmqb, Progressions
Think Indigo Girls and Melissa Etheridge, with more than a touch of
traditional sound. Meet Martha Schuyler Thompson. Thompson is an artist
that Progressive radio can embrace. When you listen to Road Kill
(Cottage Industry), you'll understand what we mean. This is one of those
rare albums that come along all too infrequently, where every song can
be put in your current rotation. Every station should be able to find
something delightful to play from Road Kill. The tracks on the
album range from American Roots music, like Blues and Folk, to Celtic
and Latin rhythms. The album's tracks stand alone as individual pieces
brilliantly, yet taken as a whole, a vibrant mural of characters come
into view. Thompson's motivation for this album lies in her feeling
that she "had a responsibility to our culture as a whole to portray
women as the complex, wise, strong-willed and gloriously varied individuals
that we truly are." Adding to Martha's abundant talent on this
album are Hollis Taylor (Old Time Fiddle Champion) on violin, George
Mitchell (Diana Ross Band) on keyboards and Warren Rand (Robert Cray,
Albert King) on saxophone, as well as a host of others. All the guitar
parts (some impressively athletic finger-picking here) are done by Thompson,
and in an age when one is tempted to ask, "Where are the female
guitar heroes?," it's nice to have a woman represented.
-Sybil Maguire, Progressive Adult Radio
© July 17, 1998 fmqb used by permission
Album Network, Totally Adult
Martha Schuyler Thompson is a prime example
of an artist who has gained a following by hard work and undaunted determination.
She sings songs about the ordinary things in life -- both past and present
-- and gracefully elevates them to poignant observations. Her newest
effort, Road Kill, is a sophisticated collection of songs that
reveals her passionate style, incorporating influences from the realms
of folk, gospel, blues, jazz and styles originating in Eastern Europe.
"Listening to Road Kill is like reading a great American
novel," says KINK/Portland, OR's air personality Cindy Hanson.
"Martha's expressive voice and stunning instrumentation make these
wonderful songs come to life. Her songwriting...takes us to some wonderful
places on this new album."
-John Schoenberger, Totally Music
© July 17, 1998 The Album Network used by permission
The
Berkshire Eagle, Spins
Everyone is going places on Martha Schuyler Thompson's "Road Kill,"
but they're not always happy about it, nor are they always sure why
they're going. The latest album by the Oregon-based singer-songwriter
is a kind of travelogue, touching down in different musical and emotional
landscapes. From the contemporary Celtic of "Casting My Net"
to the gospel ballad, "I Have Been There Before" to the country
blues of the title track, the music serves as a kind of commentary on
the narratives, both of which explore the quintessential American clash
of home vs. the road.
-Seth Rogovoy
© July 26, 1998 The Berkshire Eagle used by permission
Folk dj-l
I admit it: I'm addicted to words.
Even, perhaps especially, in music. I'm eager to dedicate hours to wrestling
with the suggestive obscurity of, say, the lyrics of Happy Rhodes, or
marveling at the very distinct intricacies of Bill Morrissey's and Wendy
Beckerman's, but turn away quickly upon the first scent of banality.
No worry in this regard with Martha Schuyler Thompson's second release,
"Road Kill"; her lyrics are in turn wittily observant and
audaciously allegorical, and, despite their dominant first person stance,
effortlessly avoid the limp self-absorption and strident moralizing
so common, and debilitating, to the singer-songwriter genre. And the
music's good, too, acoustic-based songs with tasteful rock embellishment
and a subtle yet profound bluesy affinity, a growling, soaring vocal
that sounds like strong coffee in the morning feels.
"All Right Without You" is a great choice
as a lead-off track, a simple guitar riff elaborated by organ and saxophone,
a jumping off point for an ironic dismissal of a departed lover, humorous
self-deception driven home by an obsessive catalog of how and why this
would have been better on any other day, Thompson's voice flying off
into growled, hissed lists of daily activities interrupted, always returning
just in time to maintain the melody. If ever you should leave me, don't
do it while I'm at the health club. A similar approach, but much heavier
on acoustic guitar, musically enlivens "Gravity," which can
be read on one level as a peculiar paean to a stabilizing force of nature,
possibly on another as a critique of Newton and of the rational demystification
of the world in general.
"Casting My Net" is a very different sort
of song, a slow finger-picked waltz, fiddle accompanied, Thompson's
active soaring vocal equally adept with this riveting allegory of a
pregnant woman fishing for a soul for her new daughter, cunning lyrics
spawning new notions in every line. "Piece Work" is similarly
stunning, slow and powerful with unexpected chord changes and Semitic
suggestions in the fiddle accompaniment, dressmaking a metaphor for
an internal struggle between freedom and work, action and stasis, then
reemerging as an actual aspiration, a girlhood pastime, and always,
always the insistent demand of the past: "remember me." "Road
Kill" closes with the gentle, accepting humor of "Shake It,"
cheesy organ cha-cha key to an appreciation of that loud, strange old
woman downstairs.
Martha Schuyler Thompson's vocals on "Road Kill"
are constantly in motion, a joy to hear, and her lyrics amuse, entertain,
move, and occupy.
-Jim Foley
© August 30,1998 used by permission
Crossroads, Reviews
Martha Schuyler Thompson is a truly versatile performer. Producing herself
on Road Kill, Thompson slides easily between jazz-inspired rockers and
gentle ballads. Purely emotive is the best way to describe her deep-range
and vocal style. The recording leads off with one of the jazzier pieces
"All Right Without You." Trading off between Thompson's powerful
vocals and Warren Rand's sharp saxophone you might get the idea that
this is akin to what Janis Joplin might sound like today if she had
the chance. As an instrumentalist Thompson does a fine job. Percussive,
grooving guitar lines are good compliment to her voice. "Casting
My Net" is one of the more gentle songs on the CD. The chorus reads:
"Casting my net upon the water. Casting my net out for a daughter."
The final verse: "The fish spill in from the ocean. They glisten
wriggling and wild. I feel them deep in my body where I am carrying
my own child." This is a song that feels to come deep from the
soul. Some fine violin from Hollis Taylor along with Thompson's fingerpicking
on guitar gives it a mysterious feel. "Piece Work" is another
gem on this recording. A story revolving around the holocaust memories
of a grandmother as it relates to herself. "How is it I feel war
torn when everything's at stake. Just like those bolts of fabric I cut
in every chance I take." The CD finishes up with "Shake It."
A bit of a samba about the old woman who lives up above, it sounds like
something you might hear from a writer such as Greg Brown in it's style
and delivery. Thompson is certainly one to watch. The consistency and
quality of her work are top notch. Highly recommended.
-Jonathan Colcord
© 1998, Crossroads Magazine used by permission
The Performing Songwriter,
ASCAP News
The honking saxophones on Martha Schuyler Thompson's new Road Kill
(Cottage Industry Music) announce an atypical indie singer-songwriter
album. Multi-dimensional subject matter, full-bodied singing, imaginative
guitar-playing, and remarkable self-assurance carry the day on Road
Kill. Drawing hard on her own life, she fashions songs from her
memories of her Holocaust-survivor grandmother to meditations on long
drives on the open road. A wife and mother, Salem, Oregon-based Thompson
is one of the country's hardest-working performing songwriters around,
garnering gigs, positive reviews, and engagements across the country.
-Jim Steinblatt
© 1998 The Performing Songwriter September/October issue
Singers & Songs review
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