'Even in the best days of our marriage, Richard and I didn't communicate with each other fabulously well,' says Linda Thompson. 'I think that the reason the music was good was that we tended to save it for work.'

Perhaps that explains why Shoot Out the Lights is both the best and last album Richard and Linda Thompson made together. For a change of pace, the Thompsons had decided to record an album with producer Gerry Rafferty, who as an artist had scored a hit with 'Baker Street.' But Rafferty's slick, elaborate style was at odds with the straightforward way the Thompsons usually recorded, and the kindest thing Richard can say today about the abortive Rafferty record is 'I don't think it was wholly successful. Jai Ho Mp3 Songs Free Download 2014. ' Linda, who still has the master tapes in her attic, is more explicit: 'Richard hated it.'

Incarcat de Accesari 1109 Data 30.10.10 Marime 5.1 MB Browserul tau nu suporta HTML5. Mar 12, 2013. This would result in Joe taking off to perform in the Pacific Northwest and the band to play a number of shows under the name The Incredible Fish - with some promoters still listing the band. The band were also featured in a photo-shoot that would see them on the front cover of 'San Francisco' magazine.

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Enter Richard's friend, producer Joe Boyd, who brought the Thompsons into the studio to cut a quick, low-budget album for his small independent label, Hannibal Records. Richard found himself in more familiar surroundings — he and Boyd had worked together twelve years before, when Richard was the lead guitarist with the pioneering folk-rock group Fairport Convention. Recording was done at Olympic Studios, an old Fairport haunt, with a band that included the Fairport rhythm section of drummer Dave Mattacks, bassist Dave Pegg and guitarist Simon Nicol.

Neo Sans Std Bold Italic Free Download more. Three days into the sessions they had the basic tracks for Shoot Out the Lights. The record turned out to be the soundtrack to what Boyd calls 'an elaborate soap opera.' Richard's lyrics are crystal-clear portraits of dissolving relationships, cast with wronged or dissatisfied lovers on the one hand and riveting tales of death and violence on the other. There's no concealing the genuine desperation of 'Man in Need,' in which a man walks out on his family at dawn. Shortly after the record was completed, Richard left Linda, who was pregnant at the time, for another woman. Richard dismisses the idea that the lyrics presaged what was to happen to their ten-year-old marriage.

'The theorists can theorize,' he says, 'and they may be right, but from a practical point of view, for myself, it was just the stuff I was writing, and it didn't bear any relationship to life as I could see it at the time.' 'Do you buy that?'

Is Linda's disbelieving response. 'There was a cohesion to all those songs that was part of what was going on at the time,' she says.

'We gravitated to that kind of subject matter. There was a kind of common denominator in those songs — they fit together, and we weeded them out that way.' According to Linda, that common denominator was 'utter misery. It was kind of a subliminal thing, but that was definitely it,' she says.

'I think we both were miserable and didn't quite know how to get it out — I think that's why the album is so good. We couldn't talk to each other, so we just did it on the record.' The tension took its toll on Linda's voice. A victim of 'studio fever,' she developed a nervous tic that made her lose breath, making it difficult for her to keep her voice at full strength for more than a couple of lines at a time. As a result, Boyd was forced to painstakingly stitch together complete vocals from several takes. But for all the studio trickery, the performances have a real cohesion and showcase Linda's achingly beautiful voice.