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DISCID=b30c840d
DTITLE=Richard & Linda Thompson / I Want To See The Bright Lights Toni
DTITLE=ght
DYEAR=1974
DGENRE=Folk/Rock
TTITLE0=When I Get To The Border
TTITLE1=The Calvary Cross
TTITLE2=Withered And Died
TTITLE3=I Want To See The Bright Lights Tonight
TTITLE4=Down Where The Drunkards Roll
TTITLE5=We Sing Hallelujah
TTITLE6=Has He Got A Friend For Me
TTITLE7=The Little Beggar Girl
TTITLE8=The End Of The Rainbow
TTITLE9=The Great Valerio
TTITLE10=I Want To See The Bright Lights Tonight (Live At The Roundhou
TTITLE10=se)
TTITLE11=Together Again (Live At The Roundhouse)
TTITLE12=The Calvary Cross (Live At The Roundhouse)
EXTD=I Want To See The Bright Lights Tonight (Remastered + Expanded)\n
EXTD=2004 Universal Island Records Ltd.\nRichard Thompson & Linda Thom
EXTD=pson\n\nOriginally Released April 1974\nCD Edition Released March
EXTD= 1990 or July 1, 1991\nRemastered + Expanded CD Edition Released 
EXTD=September 28, 2004\n\nAMG EXPERT REVIEW: In 1974, Richard Thompso
EXTD=n and the former Linda Peters released their first album together
EXTD=, and I Want to See the Bright Lights Tonight was nothing short o
EXTD=f a masterpiece, the starkly beautiful refinement of the promise 
EXTD=of the Thompsons' solo debut, Henry the Human Fly. In Linda Thomp
EXTD=son, Richard found a superb collaborator and a world-class vocali
EXTD=st; Linda possessed a voice as clear and rich as Sandy Denny's, b
EXTD=ut with a strength that could easily support Richard's often weig
EXTD=hty material, and she proved capable of tackling anything present
EXTD=ed to her, from the delicately mournful "Has He Got a Friend for 
EXTD=Me" to the gleeful cynicism of "The Little Beggar Girl." And whil
EXTD=e Richard had already made clear that he was a songwriter to be r
EXTD=eckoned with, on I Want to See the Bright Lights Tonight he went 
EXTD=from strength to strength. While the album's mood is decidedly da
EXTD=rker than anything he'd recorded before, the sorrow of "Withered 
EXTD=and Died," "The End of the Rainbow," and "The Great Valerio" spok
EXTD=e not of self-pity but of the contemplation of life's cruelties b
EXTD=y a man who, at 25, had already been witness to more than his sha
EXTD=re. And though Richard didn't give himself a guitar showcase quit
EXTD=e like "Roll Over Vaughn Williams" on Henry the Human Fly, the br
EXTD=illiant solos that punctuated many of the songs were manna from h
EXTD=eaven for any guitar enthusiast. While I Want to See the Bright L
EXTD=ights Tonight may be the darkest music of Richard & Linda Thompso
EXTD=n's career, in this chronicle of pain and longing they were able 
EXTD=to forge music of striking and unmistakable beauty; if the lyrics
EXTD= often ponder the high stakes of our fate in this life, the music
EXTD= offered a glimpse of the joys that make the struggle worthwhile.
EXTD= [2004's deluxe edition of the album included three previously un
EXTD=released live tracks, as well as expanded packaging and a full ly
EXTD=ric sheet.]  -- Mark Deming\n\nAmazon.com essential recording\nHi
EXTD=ndsight confirms this as a British folk rock classic, but the stu
EXTD=dio debut for Fairport Convention alumnus Richard Thompson and th
EXTD=en-bride Linda Peters Thompson was passed over for stateside issu
EXTD=e upon its release in 1974. Granted its stubborn penchant for fra
EXTD=ming Thompson's arch broadsides, ballads, and rockers with silver
EXTD= horns, concertina, and pre-industrial imagery took these songs w
EXTD=ay out of contention with the rock fare of the day, Bright Lights
EXTD= survives as a stunning introduction to the Thompsons' remarkable
EXTD= music. The set also offers a primer on Richard's understated bri
EXTD=lliance as both electric and acoustic guitarist (and no mean hand
EXTD= on mandolin). His spidery Stratocaster jigs and reels with a vin
EXTD=ous sting, and, on the ear-tweaking "The Calvary Cross," offers a
EXTD= position paper on the rudiments of a style that would influence 
EXTD=guitarists on both sides of the pond. Like the Band's Robbie Robe
EXTD=rtson, Thompson harnesses a tough rock attack to a rootsy folk in
EXTD=telligence that has since bubbled up in the playing of successors
EXTD= including Mark Knopfler, sounding timeless and contemporary with
EXTD= every string-bending flourish. --Sam Sutherland \n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nBreathtaking, somber, dark, powerful, November 24
EXTD=, 2001\nReviewer: "philosoph123" (Manhattan)\nI feel that this is
EXTD= the best single album of one of the finest overall songwriters o
EXTD=f the modern era. Where to begin? At the end...the final two song
EXTD=s, "End of the Rainbow" and "The Great Valerio" are a beautiful, 
EXTD=dark, ending to this album, possibly the most perfect ending to a
EXTD=ny album. The music is stripped of frills, reflecting despair wit
EXTD=hout entering into self-pity. There is a feeling of being alone a
EXTD=nd without purpose, with no hope for this to change; this is our 
EXTD=condition, not some malleable situation. How perfect is this: "Li
EXTD=fe seems so rosy in the cradle/But take a look outside your nurse
EXTD=ry door/There's nothing at the end of the rainbow/There's nothing
EXTD= to grow up for anymore" It is the realization of the tragedy tha
EXTD=t our lives must be if there is nothing beyond it. It is the conv
EXTD=iction of a man who cannot see beyond the horrors of his own life
EXTD=. \nThere are MANY other great songs on this disk: "Calvary Cross
EXTD=", "Down Where the Drunkards Roll" and the title track all spring
EXTD= to mind. There is not a dud in the collection. Richard shows him
EXTD=self a superlative songwriter and an excellent guitarist, and Lin
EXTD=da's haunting vocals are beautifully suited to his work (although
EXTD= Richard's vocals on "End of the Rainbow" are also perfect). I ha
EXTD=ve never heard a 'perfect' album, but this album has certain stre
EXTD=ngths that make it something sui generis.\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nBright Star, July 12, 2001\nReviewer: Thomas Magnum (NJ, 
EXTD=USA)\nRichard Thompson had left the seminal British folk group Fa
EXTD=irport Convention in 1970 and had foundered around for a couple o
EXTD=f years when he was introduced to Linda Peters by Fairport's voca
EXTD=list Sandy Denny. Sparks flew between the two and they were marri
EXTD=ed. The coupling spurred Mr. Thompson into the studio to create h
EXTD=is stirring debut. Originally released in 1974, the album never c
EXTD=aught on in the US and wasn't released until 1976. The album show
EXTD=cases his understated grace as a guitarist. Adept at flicking off
EXTD= lines on the electric guitar, his real genius flows from the aco
EXTD=ustic guitar. The title track is an amazing piece of music, with 
EXTD=Ms. Thompson assuming the pose of a street walker. The song is fo
EXTD=reboding and yet uplifting at the same time. "Down Where The Drun
EXTD=kards Roll" is a folky triumph that is full of Celtic doom. I Wan
EXTD=t To See The Bright Lights was and never has been a commercial su
EXTD=ccess, but if you are looking for something new and different, gi
EXTD=ve it a listen.\n\nAMAZON.COM CUSTOMER REVIEW\nA flawless masterp
EXTD=iece, July 23, 1998\nReviewer: A music fan\nOne of those very rar
EXTD=e albums in which not a single track is less than brilliant, not 
EXTD=a single lyric is less than profound, and not a single false note
EXTD= is heard. Absolutely stunning in all levels of execution, this i
EXTD=s a album of such sheer beauty and eloquence it has to rank as th
EXTD=e single greatest injustice in the music world that it isn't a ho
EXTD=usehold name.\nThe last word in music begins here.\n\nAMAZON.COM 
EXTD=CUSTOMER REVIEW\nOne of the two great albums recorded by Richard 
EXTD=and Linda, June 18, 1998\nReviewer: A music fan\nEqual parts engl
EXTD=ish plainsong, rock and roll, Dickensian cynicism, celtic drizzle
EXTD=, and black humor, this is perhaps the most mature example of Bri
EXTD=tish folk-rock. Richard's song's have a timeless feel about them,
EXTD= and his guitar playing is by turns lyrical and stinging. Linda's
EXTD= singing is as perfectly plaintive as a lonely bagpipe. Richard h
EXTD=as an uncanny way of making desperation seem fun: "When I Get to 
EXTD=the Border" is as good a song about death as has ever been writte
EXTD=n, while "We Sing Hallelujah" is a good-natured elbow to the ribs
EXTD= of the human condition.\n\nAMAZON.COM CUSTOMER REVIEW\nFirst in 
EXTD=a series of classic albums by Richard & Linda, February 16, 2006\n
EXTD=Reviewer: Wayne Klein "Wayne Klein" (Fairfield, CA United States)
EXTD=\nThompson's first album with wife Linda listed as a full partner
EXTD=, "I Want to See the Bright Lights Tonight" remains one of his be
EXTD=st albums. From the stunning opening track "When I Get to the Bor
EXTD=der" it was clear that Thompson found a perfect partner to harmon
EXTD=ize with. Linda's clear, crisp voice accented Richard's gruffer o
EXTD=ne. Linda sings "Has He Got a Friend for Me" with just the right 
EXTD=mournful tone and perfectly captures the mood of the song. The re
EXTD=mastering on this edition is quite good. We get lyrics and a brie
EXTD=f essay on their musical partnership during this time. \n\nThe bo
EXTD=nus tracks are all terrific but they do spoil the mood of the alb
EXTD=um. The first one is the title track played live and it begins ri
EXTD=ght after "The Great Valerio". I'm not sure who sequenced these t
EXTD=racks for remastering but they should have had at least 30 second
EXTD=s between the last track and the beginning of the bonus material.
EXTD= "Together Again" also recorded live is a terrific performance bu
EXTD=t the keeper here is "The Calvary Cross" with a blistering perfor
EXTD=mance by Thompson on guitar. All three tracks are previously unre
EXTD=leased. \n\nIf you purchased this album previously on CD (or viny
EXTD=l) it's worth the upgrade for the bonus tracks. \n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nSublime, February 21, 2005\nReviewer: Trismegistos
EXTD= (Oslo, Norway)\nIn our age of hyped-up folkrock artists like Rya
EXTD=n Adams and Bright Eyes, it is a real eye-opener to listen to thi
EXTD=s album. The music lingers in the borderland between traditional 
EXTD=english and american music, giving it a really original flavour. 
EXTD=\n\nThe opener, the transcendent "When I get to the border" is pr
EXTD=obably the best "new"(to me) song I've heard so far this year, to
EXTD=tally unpretentious and original and free. Like Bob Dylan, Richar
EXTD=d Thompson attempts & fails to conceal an amazing personality and
EXTD= individuality which seeps through every breath of his vocal work
EXTD=. The same goes for the rest of the album. \n\nLinda's vocals are
EXTD= a little less original, but more than adequate compared to other
EXTD= singers, and anyway, the imperfections of this album adds up to 
EXTD=become perfection as a whole.The title song, for example: A rambu
EXTD=nctious, messy, drunken, glorious thing, complete with a marching
EXTD= band and a primitive bassline, totally irresistible. If you've h
EXTD=eard "The basement tapes", you'll know what I mean. \n\nStrongly 
EXTD=recommended.\n\nHalf.com Details \nProducer: John Wood, Richard T
EXTD=hompson \n\nAlbum Notes\nPersonnel: Richard Thompson (vocals, gui
EXTD=tar); Linda Thompson (vocals); Simon Nicol (dulcimer); Brian Gull
EXTD=and, Richard Harvey (krummhorn); John Kirkpatrick (concertina, ac
EXTD=cordion); Pat Donaldson (bass); Timi Donald (drums); Royston Wood
EXTD=, Trevor Lucas (background vocals).\n\nRecorded at Sound Techniqu
EXTD=es Studio, London, England.\n\nThe debut album from Richard and L
EXTD=inda started a career that has placed Thompson in the 'forever to
EXTD= be a huge cult figure' bracket. They did everything on this albu
EXTD=m, bar make the charts and sell records. Folk, rock, country and 
EXTD=pop are brilliantly covered in a tasteful and controlled package 
EXTD=that is a delight from beginning to end, with Linda singing beaut
EXTD=ifully. Concert favourites such as 'The Calvary Cross' and 'When 
EXTD=I Get To The Border' are to be found here. It is not flippant to 
EXTD=say that Richard Thompson is a world class songwriter and guitari
EXTD=st, albeit totally under-appreciated.\n\nIndustry Reviews\nInclud
EXTD=ed in Q Magazine's Best Folk Albums of All Time - ...confirmed Ri
EXTD=chard Thompson as the authentic voice of English music....The fea
EXTD=rless use of seemingly incompatible instruments...provided a comp
EXTD=elling backdrop for Linda's bruised voice and rarely has misery s
EXTD=ounded so persuasive.\nQ (11/01/1999)\n\n4.5 out of 5 stars - ...
EXTD=Captures all the intensity that made their work together so gripp
EXTD=ing, so full of possibility and so impossible to sustain.\nRollin
EXTD=g Stone (07/05/2001)\n\n4.5 out of 5 stars - ...Captures all the 
EXTD=intensity that made their work together so gripping, so full of p
EXTD=ossibility and so impossible to sustain.Q (11/99, p.163) - Includ
EXTD=ed in Q Magazine's Best Folk Albums of All Time - ...confirmed Ri
EXTD=chard Thompson as the authentic voice of English music....The fea
EXTD=rless use of seemingly incompatible instruments...provided a comp
EXTD=elling backdrop for Linda's bruised voice and rarely has misery s
EXTD=ounded so persuasive.\nRolling Stone (07/05/2001)\n\n[S]eductivel
EXTD=y bleak...
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