live off that song alone". The "£80,000" figure has been widely repeated in newspaper articles ever since. Rafferty loathed the 1992 dance music cover version of "Baker Street" by Undercover, describing it as "dreadful, totally banal–it's a sad sign of the times". But it earned him another £1.5 million, selling around three million copies in Europe and America. He never let "Baker Street" be used for advertising, despite lucrative offers. "Right Down the Line" was the second single from City to City. The song made No. 12 on the Billboard Hot 100 chart and No. 1 on the Hot Adult Contemporary Tracks charts in the US. It remained at the top of the adult contemporary chart for four non-consecutive weeks. The third single from the album, "Home and Dry", reached No. 28 in the US Top 40 in early 1979. One of the lesser-known songs from that time is "Big Change in the Weather" (the B-side of "Baker Street"). The lyrics of "Baker Street" reflected Rafferty's disenchantment with certain elements of the music industry. This was elaborated on by music journalist Paul Gambaccini for BBC World News:. His next album, Night Owl, also did well. Guitarist Richard Thompson helped by performing on the track "Take The Money and Run", and the title track was a UK No. 5 hit in 1979. "Days Gone Down" reached No. 17 in the US. The follow-up single "Get It Right Next Time" made the UK and US Top 40. Snakes and Ladders, Sleepwalking and North and South Subsequent albums, such as Snakes and Ladders (1980), Sleepwalking (1982), and North and South (1988), fared less well, perhaps due partly to Rafferty's longstanding reluctance to perform live, with which he felt uncomfortable. In 1980, Rafferty and Murphy produced a record for Richard and Linda Thompson; though never released, it eventually evolved into their album Shoot Out the Lights. The 1982 album Sleepwalking saw Rafferty taking a very different approach to his work. Christopher Neil replaced Hugh Murphy, Rafferty's usual producer, introducing synthesisers and drum machines that give the album a harder, less acoustic sound, and apparently eschewing the richly detailed arrangements notable on Rafferty's three previous records. According to Murphy, interviewed a decade later: "Gerry had made three albums on the trot and I think he was pretty jaded at that time and feeling the pressure and he just thought, 'Well, I'll try another tack,' which