Top 46 Quotes & Sayings by Richard Thompson

I'm always making a conscious effort to be viable and accessible.

You want the audience to be uncomfortable.

It's fun to sing sad songs. And it's fun to listen to sad songs. Enjoyable. Satisfying. Something.

There's a part of me that wishes I'd never said one single solitary word on any subject publicly. Then I could have been the tortured poet, and there's so much mileage in that. But it's too late to stop now.

I want people to come to my music without prejudice. I want them to get the music first. And who I am isn't that important. If they like the songs to me that's a good thing.

I try to look for the good in everybody, regardless of the way they're labeled.

I'm glad there are a lot of guitar players pursuing technique as diligently as they possibly can, because it leaves this whole other area open to people like me.

I try to make songs visual and tactile to kind of put you into the action.

The best thing you've got going for you is individuality.

I just like to entertain myself by sitting down and writing songs.

It's amazing what some people read into songs.

To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism. Bordering on insanity.

But music can save your life sometimes. It probably saved me from working in a bank or something. That's a kind of salvation right there.

The thing I do, really, is a communication with audiences more than any achievement through records.

When you stand up acoustic in front of an audience, you really are a man without any clothes on. And that can be fun - it depends how much of an exhibitionist you are, I suppose. I quite enjoy it.

As the writer, you're always a presence in the song. If you get close to what human beings are like, you're writing about common experience. We all do much the same things, so if you nail somebody, then you've also nailed yourself.

I have to remind myself not to set boundaries.

I think the reason kids get into drugs and smoking is they don't have anything to do.

I probably wrote three-quarters of the songs without an instrument in my hands.

Well, first of all it's entertainment. That stops us becoming too pretentious or thinking we're great artists.

All audiences should be slightly off balance.

People want to hear about the extremes of human nature. They want things that are larger than their own lives, and more romantic, and not necessarily of their own experiences.

I like the idea of playing in unison with yourself.

What I wanted to hear didn't exist, so it was necessary for me to go out and create it.

Amplifying acoustic instruments more than a little is really cheating, and everything becomes a compromise.

I don't really know how writing process happens, how these songs are arrived at. One of the things I like about the writing process is, I don't necessarily know where it's going, and even if I think I know where it's going, it'll turn out different. I find that exciting and rewarding.

There are only three white blues singers -- Geoff Muldaur is at least two of them.

I think you can refine what you do, and become more consistent. And you write better songs that have a better shape and a better feeling. You evolve into and out of things, and go through stages, but, ultimately, you do improve.

An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.

Sitting around home I mostly play acoustic. I've got seven or eight guitars of various sorts, including a baritone. Sometimes at home, because a guitar is just lying around, that's the guitar I pick up rather than actually choosing something. I try to plan ahead for my laziness by leaving interesting things scattered about. If I leave a baritone guitar lying around, that's the one I'll pick up, and I'll start writing baritoney things.

I think there are shades of political songs; some are more subtle and can be more effective for being subtle, for being more metaphorical. I've written a lot of songs like that, where it's not really clear if it's a war song or a relationship song. The metaphor can be the most powerful thing of all, but sometimes you have to speak more clearly to more people, and I think this is one of those times.

People want to be the first with the record, they want to be the first to know which songs are on the record, all that kind of stuff. So I like to just stall them a bit. Personally, I love the idea of an album that's completely new, that no one's heard any free downloads, any pre-record releases, all that kind of stuff, and nothing's been played on the radio. Totally virgin, you know, a sealed record. That's my ideal, but it's very hard to get anybody else to agree to do that.

I'm sure every pattern has been covered, but it's nice to think you might dwell on some that other people don't.

Over the years, I've had fairly benign record companies who gave me a lot of rope, but in spite of that, there's still restrictions and expectations. It's nice to be at the cottage-industry size, which I think is kind of the business model of the age anyway. It's the way to be. The Internet makes a lot of that possible. Having a loyal fan base is also very useful to keep me operating; people can find your website, and the venues that you're playing at, the merchandise you have for sale, all that kind of stuff. It's great to be able to reach the audience in a more direct way.

I'm glad I can do both full-band electric and solo acoustic performances. It's nice to have contrast, so if you get fed up with one, you can just switch to the other one. It's great to go to a town and play an acoustic show, and then you can come back a year later and play electric, and the show's really fairly different. The repertoire will be 50 percent different. The musical energy is completely different.

To see both sides of a quarrel, is to judge without hate or alarm

I think whatever you believe in affects whatever you express, whatever you create. It shapes your morality in some way. But I don't think that's something that you have to shove down people's throats. I'd rather keep it in the background, and I'd rather people came to the music in an unprejudiced way. I'm glad, in a sense, that most people don't know about me, what I do, much. I'd rather they hear the music, and then say, "I wonder what kind of person created this."

There is in fact a controversy over Darwin's theory. Clearly both theories have religious implications. But this is not about God.

If you're up there performing a song for the first time, it's as if you're hearing it through their ears. You become acutely self-conscious of the song in performance, so that's a good thing before recording. But I like to have some surprises for the audience; I don't want the audience to know everything that's going to be on the record, because these days, with the Internet, people become avid collectors of pre-knowledge.

Every day I'll wear your memory like a favorite shirt upon my back

They came in the thousands from the whole human race to pay their respects at his last resting place.

I think it's absolutely possible to write a song and go somewhere where no one's been before, uncharted territory. In terms of content, I see limitations where there should be none. I know there are things I wouldn't write about, but that shouldn't be the case. You should be able to make a song out of anything, out of any situation.

If you're up on a stage, naked and solo and singing songs to people, there's not much place to hide, so you may as well confess what you want to confess and say what you want to say, whatever that is. Some songs just turn out as being more about me, and some are more through the eyes of other people, or third-person descriptions of people.

Nothing is plainer than that, if the principles of the church of Rome prevail here, our Constitution would fall. The two cannot exist together. They are in open and direct antagonism with the fundamental theory of our government and of all popular government everywhere.

The good part of writing is where it gets out of your control and turns into something else. You look at it and think "Whoa, where did that come from? That wasn't what I meant to write, but it's more interesting than what I was intending. Which part of my subconscious or my experience did that come from?" Often the answer isn't clear, and often the line between fiction and fact isn't clear, either.

Will there be any bartenders up there in Heaven, will the pubs never close?