The singer and songwriter who rose from the ’60s British folk-rock scene lost her vocals to a neurological disorder. So she wrote a batch of tracks for others to voice.
For years, the singer Linda Thompson faced a problem that, for someone in her line of work, seemed insurmountable.
Slowly over time, and then suddenly all at once, she lost the ability to hold a note surely enough to sustain even the simplest tune. “I first noticed something wrong back in 1972 when I got pregnant for the first time,” she recalled recently. “My voice became precarious — in and out.”
Consultations with doctors eventually brought a brutal diagnosis: spasmodic dysphonia, a neurological disorder in which the muscles in the larynx tighten or lapse into spasms, strangulating speech while making singing a significant challenge. (It’s an entirely different diagnosis from stiff person syndrome, which Celine Dion announced she has in 2022.) “It’s a progressive disease,” Thompson said of her condition. “So, for the first 20 years or so I could live with it. Up until my 60s, I could still sing in the studio, at least on good days.”
Now, at 76, that ability has withered entirely for Thompson, one of the most vaunted artists to rise from the British folk-rock scene of the ’60s and ’70s that brought the world Sandy Denny, John Martyn and Nick Drake. Between 1974 and ’82, she released six albums in tandem with her ex-husband, the master guitarist and songwriter Richard Thompson, culminating in “Shoot Out the Lights,” a work consecrated by critics, in part because of its forensic dissection of the couple’s own crumbling marriage. Thompson’s advancing dysphonia made her subsequent solo career fraught and sporadic, though she did manage to release four LPs before falling silent 11 years ago.
Even so, losing her voice didn’t mean forsaking her songwriting, a talent that led to a resourceful strategy for a comeback. Because almost everyone in Thompson’s extended circle of family and friends is a gifted vocalist, she thought, why not engage them to perform the songs and make an album from that? “It wasn’t exactly a brilliant idea,” Thompson said. “It was the only idea.”
What clinched it for her was the pun-y name she devised for the result: “Proxy Music.”
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Source: Music - nytimes.com
