I dunno- I just love it as it is. Loved it when it came out, sounds even better now to me. A beautifully realized album. House of Cards is a masterpiece, as is Pavanne imho.
The production sound makes this seem like a mid 80's LP, but I know Shoot Out the Lights is their final work. The art work reminds me of a Windham Hills record from the 80's.
I don't know, I think it kind of works. RT's guitar work and Linda's amazing voice still shine through: for example, on "Don't Let a Thief" the guitar at the end is fantastic and cuts through the poppy/funky production style and the glut of backing vocals (why?) I think I like it. However strange this album might be compared to other RT work I reckon it holds it own. I'm wondering if they were going for a Fleetwood Mac kind of vibe? Died for love sounds very Rumoursy.
The weird production? "How do we release a Richard Thompson album that will *sell?* We know! We'll hire current hot session guys Andy Newmark and Willie Weeks and use them for the rhythm section!" Didn't work. (RT has never *had* the album sales he really deserves, best efforts by the Island, Capitol, Chrysalis and Polydor labels aside. And RT is one of those artists I think you have to see live to fully appreciate, Simply brilliant.)
I guess being ahead of your time isn't always a good thing. The guitar sound is a bit plastic, but the songs and vocals are so good - does it really matter?
@@dennismccunney4462 I don't get how the rhythm section is supposed to determine the production, and I don't agree you need to see him live - you just have to *listen*! Mediocre music never becomes great just by playing it live, and great music is always great regardless of the production (as long as it isn't completely crazy!).
@@paddymeboy The rhythm section influences the entire sound. Two different rhythm sections planing the same songs with the same rest of the band will produce different albums. And record companies are no more immune to fads and what the new hotness is supposed to be than anyone else. "What's currently selling? Let's do some more. Never mind whether it fits what the artist is trying to do..." I _am_ biased by seeing him live. Back in the day, the album was the product, and bands toured to promote the album when it was released. It's kind of flipped these days. An old friend is Larry Kirwan, leader, main songwriter and guitarist for Celtic rockers Black 47. They had a couple of major label releases and a lot of indie stuff. Larry was happy if you bought the albums (especially from the band at a gig), but if you ripped them to MP3 and shared them, that was fine. The more people who heard the music, the more would come to see them when they played. They had a following and made their living touring. (And put on a kick ass live show.) They finally hung it up last year after 25 years. It looks like it's back to the gig being the product, and the album a reminder of the gig. (I happen to think that's as it should be.) But while Richard is a legend to those who know about him, he has never had the kind of commercial success in terms of album sales he deserves. Well, neither did Fairport Convention where he came from, or Steeleye Span. My only current regret is that he's currently touring as the Richard Thompson Electric Trio, largely because the current economics make it hard for him to have a larger band and make money touring.
In Richard's wonderful memoir BEESWING he sort of dismisses this entire album out of hand based largely on its production values. I may not know much, but I do know a great record when I hear one and this is a great record .
Yeah...interesting, but not quite what I expect from R/LT. The sound is very bright/trebley and has that late '70s/early '80s funk, which is not (in this case) a good thing. Still...not bad!
