Thea Gilmore
Album: Ghosts And Graffiti
Label: Fullfill
Tracks: 20
Website: http://www.theagilmore.net

I really dunno how Thea does it ! Against all the odds, she's come through to her fifteenth album release bruised but intact after various life and artistic crises, having still managed to produce an extraordinarily classy and consistent series of records over 17 years and yet without having attained the acclaim and status befitting her: that of one of the most captivating, seriously smart singer-songwriters around. Sure, there's been plenty of really enthusiastic word-of-mouth recommendation, and I'm probably preaching to the converted here on Fatea where best taste rules, but yeah, the world at large still deserves - nay, needs - to know about Thea. There's still so much wilful ignorance of good music in this world - but hey, that's the world's loss ain't it?…

So what's Thea giving us for her 15th album? Well, after she finally made it to the Top 40 album chart with #14 (Regardless), it kinda makes sense to capitalise on those new fans by bringing out a retrospective collection (and not just to shift copies of her back catalogue!). But knowing Thea, even the idea of such an exercise ain't gonna be all that straightforward, and with typical intelligence, thoughtfulness and insightful objectivity she's lovingly put together Ghosts And Graffiti, a magnificent 20-track, 72-minute, exceptional-value collection that does everything an anthology-cum-celebratory-collection should. It really does present the entire range of Thea's creativity, in a breathless parade of fabulous tracks genuinely without a weak moment; and provides a salutary reminder (even for the dedicated fan) of the sheer breadth of her talent, the overwhelming acuity of her writing, and her tremendous capacity for absorbing and reinventing her inspirations. The disc's an invigorating ride, cannily sequenced for maximum impact and contrast over its long span; stylistically, there's everything here from folk-rock and acoustic ballad through to breezy pop anthem via rocky indie, Dylanesque Americana, gospel, driving rockabilly, Latin rhythms, 60s jangle and torch-song. Thea's such a versatile and capable singer that she can master any style, and that range is fully demonstrated on this disc. And as for the songs themselves, those key qualities of Thea's writing - potent sentiments courageously expressed, a pronounced social and political conscience allied to a sharpness of observation, with sensitivity and aggressive savvy side by side, and a healthy economy of expression with priceless lines and memorable hooks - are present in abundance. I'd say that while a good number of the 20 might easily've been hits for other artists, Thea's own renditions will always be considered essential benchmarks.

But as I hinted above, what's so great about Ghosts And Graffiti is just how sensibly comprehensive it is, and even though it contains no music from close on half of Thea's albums it can be viewed as strangely representative. Unlike most retrospective collections, only a small number of the 20 tracks on Ghosts And Graffiti (I think I counted five) are actually culled straight from the original album releases (we get a pair of contrasted numbers, That'll Be Christmas and the glorious a cappella Sol Invictus, from the Xmas-themed Strange Communion; the perhaps inevitable London from the Sandy Denny "collaboration" Don't Stop Singing; and two of the most accessible tracks from Thea's most recent album, 2013's Regardless).

Although there's nothing to be ashamed of in the original album cuts, they're all just a snapshot in time, and the apparent temporal imbalance of the present selection is justified when you consider Thea's philosophy, which she herself explains with typical candour, that listening to the old songs is like a haunting, in that the songs are the ghosts of her past. And yet, they still have both life and relevance - furthermore, like all classic songs, they're capable of being revisited with the perspective of having lived through the intervening years. One might say that here they're being defiantly re-sprayed on the walls of the music scene like fresh graffiti. And so, Thea has taken a long hard look at her impressive œuvre, and decided to rework no fewer than 10 songs, some with the help of guest musical collaborators. Particularly successful are My Voice (featuring Billy Bragg), Inverigo (with King Creosote) and the punchy rocker This Girl Is Taking Bets (featuring Joan Wasser), while The Waterboys join Thea for Glistening Bay. The remake of Razor Valentine (a key number from Avalanche) is more idiosyncratic, and I Am Kloot's John Bramwell, though in distinctive voice, doesn't quite chime in here to my mind. The reworked Liejacker track Old Soul, however, works better in its new guise, and seems a distinct improvement on the original (which had featured a duet vocal by The Zutons' Dave McCabe). And the rather fetching slower pace now adopted for the rework of standout early ballad Holding Your Hand makes for an even greater heartrending factor. The oddest remake for sure, though, is that of Don't Set Foot Over The Railway Track (which originally appeared on the As If EP back in 2001), the poem-lyric of which in its current incarnation is intoned not by Thea but by John Cooper Clarke.

Finally to the five new songs, which range from Thea's latest single, Coming Back To You (a catchily orchestrated, upbeat chart-breaker if ever there was one!) to Inch To Inch (the earliest in compositional terms), a stirring, soul-gospel-styled folk-protest-anthem-styled political reflection that brings in the voice of Joan Baez, via the archetypally self-assured- and/or wild-child-themed songs Copper, Live Out Loud and Wrong With You. As ever, Thea's so fortunate in having genius producer/multi-instrumentalist/all-round muse (and husband) Nigel Stonier around to help realise her vision, and as ever too, the album's packaging is impeccable, with full lyrics and credits included.

Yeah, as this excellent new collection proves, Thea is still the "ghost in your perfect machine" who, in the words of Holding Your Hand, is surely "gonna haunt you" for some time yet - for she's a survivor, undefeated and undefeatable, and long may she thrive and continue to produce music of such quality and depth.

David Kidman