Infidelity, bottle-throwing, love and loss swirl around the great album produced by the soon-to-be-divorced duo of Richard and Linda Thompson in November 1981 at Olympic Studios in London.
Recorded live to tape by producer Joe Boyd, Shoot Out the Lights started and almost ended in dramatic fashion. Sessions began with Gerry Rafferty (of “Baker Street” fame) in the producer’s chair, but quickly disintegrated as Baker seemed more interested in making time with Linda Thompson than making an album.
Even though this version of the LP was completed, Rafferty was unable to find a label to release it. Boyd ultimately provided a home for the Thompsons on his fledgling Hannibal Records, and re-recorded a majority of the album in just a few days.
The eight songs they emerged with are stunning. Except for the telling “Did She Jump or Was She Pushed,” a collaboration with Linda, Shoot Out the Lights was composed by Richard Thompson. Additionally, the core band (featuring the mighty Dave Mattacks on drums, Simon Nichol on rhythm guitar, Pete Zorn and Dave Pegg swapping bass duties, and Richard Thompson on lead guitar) provide a telepathic backing to Linda’s gut-wrenching vocals and Richard’s growl.
“Don’t Renege on Our Love,” the only single from the album, is a fine way to start. Mattack’s galloping drumbeat dances with Zorn’s bass and Nichol’s guitar work. Richard Thompson’s Stratocaster is lean and effective. Lyrically, Richard’s tale of obligation, alienation, and dissolution could not be more effective.
“Walking On a Wire” is perfection. Linda Thompson has a long history of great vocals, but is often overlooked when there’s a discussion of great singers in the folk-rock arena. Check out her truncated solo career for confirmation of Linda’s vocal and writing prowess. Those sporadic efforts only add to a string of high-water marks recorded with Richard. The Stratocaster-driven ballad “Walking On a Wire” has Linda wringing all the agony out of Richard’s lyrics, while his guitar solo heightens the anguish. Pain has never felt so great.
“A Man In Need” is joyous in comparison, at least until you listen to the words. The jaunty backbeat and the guitar interplay play between Richard and Simon Nichol are reminiscent of Keith Richards and Waddy Watchel. Add in Linda’s harmony vocals and you have the most upbeat song about a relationship falling apart ever.
Side one of the original track listing ends with the ballad “Just the Motion.” Richard provides gentle dulcimer overdubs, which fit perfectly with this electric guitar. This time, it’s Richard who provides the harmony to Linda’s lead vocal. And another heart-wrenching vocal it is: “Blown by a hundred winds, knocked down a hundred times / Rescued and carried along. Beaten and half-dead and gone / And it’s only the pain that’s keeping you sane / And gives you a mind to travel on.” You get the picture.
Side two opens with the tour-de-force title track. What can you say about this classic that hasn’t been said? The muscular backbeat by Dave Mattack and bassist Peter Zorn are matched by Nichol’s guitar. The rest of the song is carried by Richard Thompson’s middle eastern-flavored solos and urgent vocals. Recorded live without overdubs, “Shoot Out the Lights” is a testimonial to great songwriting, subtle production, and guitar wizardry.
“Back Street Slide” isn’t as high-falutin’, but more fun. It gets the big-band treatment with the addition of tuba, cornet and trombone. Richard also overdubs the accordion, which gives it a deranged polka feel matching Linda’s disinterested yet apropos backing vocal.
The collaborative “Did She Jump or Was She Pushed” is a fascinating contrast, with the band providing quiet nuances while Linda sings a tale disturbingly similar the the true-life tale of Richard’s departed Fairport Convention bandmate Sandy Denny. Richard’s restrained soloing perfectly underlines the mystery of the main lyrical theme – and the ending chorus, sung by Linda, further hammers home the loss.
“Wall of Death” is the perfect demented duet to end Shoot Out the Lights, the last Richard and Linda Thompson album: “Let me ride on the wall of death one more time / Oh let me ride on the wall of death one more time / You can waste your time on the other rides / This is the nearest to being alive / Oh let me take my chances on the wall of death.”
The melodic guitar and almost cheery harmonies remind me of people smiling through the pain – and what more appropriate final image can there be for this album?
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