THEA GILMORE
My Own Private Riot: Cherry Red Box Set
This comprehensive box set encompasses Thea Gilmore’s album releases from 2008 to 2015, providing an opportunity to either explore or complete what can be considered the central period of her artistic output, with one exception noted later. Notably, this seven-CD collection demonstrates remarkable diversity in style and substance, especially given that, with a few interestingly chosen covers and contributions from partner Nigel Stonier, the writing is very much all her own work. Despite the variety, the unifying characteristic throughout the project is its consistent quality, present in both the material itself and Gilmore’s performances.
Released by Cherry Red, the collection includes an informative booklet featuring sleeve notes that guide listeners through each album, supplemented by commentary and insights from Gilmore herself. The set opens with Lifejacker, which marks a transition towards greater self-reliance; it was recorded in a home studio and incorporates unconventional instruments and found objects. This approach imparts a sense of urgency and experimentation reflective of her personal circumstances and environment at the time. Supplementary tracks add value to the set, such as her inventive interpretation of You Spin Me Right Round (Like a Record, Baby), which showcases her distinct musical identity rather than imitating the original – a theme that we will return to later!.
The following album, Recorded Delivery, is a live recording that exemplifies another form of transition—moving from an acoustic first half to a dynamic, electric conclusion that highlights Gilmore’s intensity as a performer. Even within a powerful set, the rendition of ‘My Own Private Riot’ stands out for its assertive guitar work, drawing comparisons more to Neil Young than Bob Dylan.
CD 3, Strange Communion, is Gilmore’s Christmas album, particularly praiseworthy in its avoidance of sentimentality. The songwriting captures the spirit of the season and rewards repeated listening. A cover of Yoko Ono's Listen The Snow Is Falling, encouraged by Mike Scott of The Waterboys, is particularly atmospheric.
While the artist’s own notes suggest she may personally favour the lyrics over the music on Murphy’s Heart, this judgement remains open for listener interpretation. The album features pointed lyricism, occasional country influences, and distinct percussion, at times calling to mind the quirky majesty of Tom Waits; Jazz Hands serves as an example of both her independence and successful defiance of record company advice, given its popularity among listeners.
Disc five presents an ambitious project: a reinterpretation of Dylan’s John Wesley Harding. While Gilmore adopts Dylan’s lyrics, her delivery and perspective are wholly her own. Tracks like All Along The Watchtower and I’ll Be Your Baby Tonight reflect a genuine admiration for the source material, resulting in an engaging and insightful album that predates her later work in which she gives musical life to Sandy Denny’s previously unsung words, which, despite being released during the period covered by the set, is not included here.
As might be expected from an artist with a well-established career, there is consistency in quality across the albums, though not always necessarily in style or sound. Regardless stands out as an accessible entry point for those new to Gilmore’s catalogue and is enhanced in this collection by bonus instrumental versions of earlier tracks.
Ghosts and Graffiti, like the live album, revisits material from previous stages of Gilmore’s career, her reworking of her earlier work, apparently at the instigation of Ani di Franco rather than Taylor Swift, demonstrating her ongoing creativity and commitment to artistic growth. The final CD is particularly noteworthy for its range of collaborations, including contributions from Joan Baez, Mike Scott, and John Cooper Clarke, further illustrating the breadth of both the collection.
Whether approached chronologically or selectively according to preference, this box set offers substantial listening hours and valuable insight into Gilmore’s artistry and evolution — all supported by a booklet with commentary from the artist herself.
