Rock, Metal

Thin Lizzy - China Town [Deluxe Edition] (2011)

2012-01-05T09:42:42Z

Thin Lizzy - China Town [Deluxe Edition] (2011)

Disc One

    1. We Will Be Strong
    2. Chinatown
    3. Sweetheart									play
    4. Sugar Blues
    5. Killer On The Loose
    6. Having A Good Time
    7. Genocide
    8. Didn't I
    9. Hey You

Disc Two

    1. Don't Play Around [Single Version]
    2. We Will Be Strong [Single Version]
    3. Sugar Blues [Live At City Hall, Cork, 1980]
    4. Whisky In The Jar [Live At City Hall, Cork, 1980]
    5. Are You Ready [Live At RDS Hall, Dublin, 1980]
    6. Chinatown [Live At RDS Hall, Dublin, 1980]
    7. Got To Give It Up [Live At RDS Hall, Dublin, 1980]
    8. Dear Miss Lonely Hearts [Live At RDS Hall, Dublin, 1980]
    9. Killer On The Loose [Live At Hammersmith Odeon, 1981]
    10. Chinatown [Edited Version]								play
    11. Chinatown [Soundcheck, Cork, 1980]
    12. Don't Play Around [Soundcheck, Hammersmith, 1980]
    13. Sweetheart [Soundcheck, Hammersmith, 1980]
    14. Didn't I [Soundcheck, Cork, 1980]
    15. Hey You [Soundcheck, Cork, 1980]

Phil Lynott - Vocals, Bass, Keyboards
Scott Gorham - Guitars, Vocals (backing)
Snowy White - Guitars
Brian Downey - Drums

Thanks again Amazon! I recently collected all the Thin Lizzy Deluxe Editions. Eventually, I’ll review them all. Today, I’m doing one of the lesser known albums, 1980’s Chinatown.

You know, it’s funny how perspective changes. When I first got this album a few years back, “Sugar Blues” was my least favourite track. Now, it’s my favourite. Just listen to that Snowy White guitar solo with headphones on, and dig into that driving rhythm. Incredible.

In general, I enjoy Chinatown a lot more now. There are some strikingly great Thin Lizzy tunes on here, albeit a bit less complex than previous albums. “Killer On The Loose” remains a great heavy metal song with brilliant soloing courtesy of Gorham. “We Will Be Strong”, the slightly understated opener, is also a personal favourite. It may not be loaded to the gills with familiar songs, but Chinatown is still a fine Lizzy platter.

Another winner is “Genocide (The Killing of the Buffalo)”. Some might wonder what right an Irish man has to criticize what the white American did to his land. I think it’s a pretty straightforward and clear-cut position. It’s also a great song, riffy and solid.

“Having A Good Time” is an enjoyable romp (Phil’s cheerleading being infectious) with yet another Snowy solo that just sails. It just rides the song beautifully and elevates the whole thing. Personally, I think Snowy’s work with Thin Lizzy has been among the most interesting. He may not have been the “right” guy for Lizzy (discuss!) but his work cannot be dismissed. As an interesting bluesy sideroad, the Snowy White era of Thin Lizzy is as compelling as the previous eras.

This deluxe edition adds a bonus disc of extra goodies that is well worth the price. (At press time, selling for about $17 on Amazon.ca, although I paid $32.50 CAD when it was just out.) The B-side “Don’t Play Around” is stellar. While the live take of “Sugar Blues” is previously available on the Thin Lizzy box set (smoking solo by the way), “Whiskey In The Jar” is a really interesting version. Performed as a trio by Phil Lynott, Brian Downey and Midge Ure (apparently because Snowy and Scott don’t know the song?), it’s a very different, simplified version of the song but no less catchy.

As with all Thin Lizzy deluxe editions, there’s an extensive booklet with photos, facts, figures, interviews, and so on. I enjoy reading along as I listen. ---mikeladano.com

Motyw przewodni zamyka się jednak w grafice, tytule i numerze tytułowym, bo piosenki Thin Lizzy jak zawsze traktują o smutkach i uciechach życia i prezentują szeroką perspektywę muzycznych nastrojów. Nie brak tu i przebojów, którymi są „Killer On The Loose”, gdzie oprócz melodyjnych wokali i złowrogich monologów, jest mnóstwo ostrego, rockowego grania i przede wszystkim „Genocide”, który jest najbardziej porywającym kawałkiem na płycie: „There are people round here that are right, there are people round here that like to sleep at night.”

Phil Lynott wykazuje się tu swoim mistrzostwem wokalnym, ale nie tylko tu. Jak zawsze potrafi przeprowadzić słuchacza przez sinusoidę nastrojów, od wesołego i pełnego wolności „Having A Good Time”, przez sentymentalne „We Will Be Strong” i „Hey You”, aż do łagodnego i tęsknego „Didn’t I”.

Pisząc o Thin Lizzy nie sposób nie wspomnieć o specyficznym stylu grania tego zespołu. Na pierwszy rzut ucha ta muzyka wcale nie jest mocna. Również przez ten liryczny głos, sprawiają wrażenie, jakby otaczała ich taka aura wzruszającej łagodności. Jednak wchodząc głębiej w te piosenki, można odkryć w nich niesamowite pokłady rockowej ekspresji i instrumentalnego rzemiosła. Muzyka Thin Lizzy płynie pięknym, melodyjnym nurtem, ubarwionym wartkimi riffami i wirami solówek, wyłaniających się pośród meandrów nostalgii i rozlewisk spokoju. Wszystko to sprawia, że „Chinatown” jest kolejną perełką i pełnym emocji dziełem tego wyjątkowego zespołu. --- WUJAS, darkplanet.pl

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Thin Lizzy – Chicago (1976)

2014-02-01T17:01:41Z

Thin Lizzy – Irish Dawn - Chicago (1976)


01 - Jailbreak
02 - The Boys Are Back In Town
03 - Emerald
04 - It's Only Money
05 - Blues Boy
06 - Warrior
07 - Rosalie
08 - Suicide
09 - Angel From The Coast
10 - Sha La La
11 - Baby Drives Me Crazy
12 - The Rocker

Riviera Theater, Chicago April 21, 1976

Line-Up:
Phil Lynott – bass ,vocals
Scott Gorham – guitar, vocals
Brian Robertson – guitar, vocals
Brian Downey – drums, vocals

After a successful multi-band tour in support of Status Quo, the band recorded the album Jailbreak, which proved to be their breakthrough record. Released on 26 March 1976, it featured the worldwide hit "The Boys Are Back in Town" which reached no. 8 in the UK, and no. 12 in the US, their first charting record in that country.

Thin Lizzy toured the US in support of various bands such as Aerosmith, Rush and REO Speedwagon, and they planned to tour there again in June 1976, this time with Rainbow. However, Lynott fell ill with hepatitis and the tour was cancelled, which set them back a few months.

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Thin Lizzy – Fighting (1975)

2010-07-11T20:01:28Z

Thin Lizzy – Fighting (1975)


01. Rosalie (Bob Seger) – 2:56
02. For Those Who Love To Live (Brian Downey, Phil Lynott) – 3:08
03. Suicide (Lynott) – 5:11
04. Wild One (Lynott) – 4:17
05. Fighting My Way Back (Lynott) – 3:11
06. King's Vengeance (Scott Gorham, Lynott) – 4:09
07. Spirit Slips Away (Lynott) – 4:38
08. Silver Dollar (Brian Robertson) – 3:25
09. Freedom Song (Gorham, Lynott) – 3:30
10. Ballad Of A Hard Man (Gorham) – 3:16

- Phil Lynott - bass, lead vocals, acoustic guitar (04)
- Brian Robertson - guitar, backing vocals
- Scott Gorham - guitar
- Brian Downey - drums, percussion
+
- Roger Chapman - backing vocals (01)
- Ian McLagan - piano (08)

After four albums, Thin Lizzy have finally found their sound, with Gorham and Robertson's harmonized guitar interplay filling in the sonic details, and Lynott's songwriting abilities gaining focus and consistency. For this and the next four albums they'd stick to the formula and run with it; it's hard to choose between any of these albums (excepting their masterpiece Jailbreak), as they are all of nearly the exact same quality. These bar-fightin' Irish lads lead off with a cover of Bob Seger's lust ode to a Canadian DJ, "Rosalie," and actually make you like it. Lynott hovers alternately between cheap romanticism and cheap cynicism, but the deep, aching guitar lines that hook into "Wild One," convey the loss Lynott attempts to articulate better than his cliched lyricism. But deep lyrics aren't what Lynott's songwriting is about: he relies way too much on cliches such as "for I would beg, lie, steal, I would borrow," but he sings them in a manner heartfelt and emotionally poignant enough to overcome the occasional clunkiness -- the term is soul. That's what makes "Wild One" the album's most moving song. Yet the most classic moment comes on side two with "King's Vengeance" slipping into "Spirit Slips Away." It can be seen as a mini-epic: the first song is set in olden times, perhaps the Middle Ages or the 17th century -- spring comes and teases while a commoner faces the wrath of His Majesty's justice for some no doubt petty offense, for the King's vengeance is aimed upon the poor. It's telling of Lynott's earthy working-class sensibility that his foray in the Heavy Metal Medieval Ballad Genre (every '70s band had at least one - even Aerosmith (!)), he'd choose the plight of the common man rather than some knight slaying dragons. The second song might or might not follow the same commoner's plight, as perhaps he got the noose and finds the cold, empty tomb -- the way the two tracks flow into one another creates the impression, and "Spirit Slips Away," is the most chilling, desolate song Lynott ever wrote (after all, what's more chilling and desolate than death?). A subject obviously on Lynott's mind at the time -- both the cruel, viciously sarcastic "Suicide," (the mocking verses "the boy could boogie" are downright mean) and the sympathetic die-young-n-pretty "For Those Who Love To Live," feature protagonists who prematurely leave this vale of tears. Lynott still hadn't quite fully developed, however, and there are a handful of rough moments, but the only songs that are truly weak all the way through are "Silver Dollar," and "Ballad of a Hard Man," - which makes sense, since those two were written by Robertson and Gorham, respectively. Whatever - their limits as songwriters aside, the pair prove their mettle (hah! a pun) with their fiery, lyrical guitar lines. --- starling.rinet.ru

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Thin Lizzy – Jailbreak (1976)

2010-07-14T21:49:35Z

Thin Lizzy – Jailbreak (1976)


01. Jailbreak – 4:01
02. Angel From The Coast (Lynott/Brian Robertson) – 3:03
03. Running Back – 3:13
04. Romeo And The Lonely Girl – 3:55
05. Warriors (Lynott/Scott Gorham) – 4:09
06. The Boys Are Back In Town – 4:27
07. Fight Or Fall – 3:45
08. Cowboy Song (Lynott/Brian Downey)– 5:15
09. Emerald (Gorham/Downey/Robertson/Lynott) – 4:03

Personnel:
- Phil Lynott - bass, acoustic guitar, vocals 
- Scott Gorham - lead guitar, guitars
- Brian Robertson - lead guitar, guitars
- Brian Downey - drums, percussion

Jailbreak is surely Thin Lizzy's most exciting, tough, and touching album. Simultaneously barbarous and balletic, the 1976 set boasts the totally irresistible "The Boys Are Back in Town." But the rest of Jailbreak lives up to that highlight, especially the riotous title track ("Tonight there's gonna be a jailbreak, somewhere in this town"--yeah well, the jail seems a likely place). If Phil Lynott's poetic pretensions sometimes get the better of things, most of the album shows off his effortless power and economy; if heavy rock has a tendency to wrestle each song to the ground, Lynott and company were uniquely capable of delivering the knockout punch, graceful as a boxer or bullfighter. Jailbreak is testament to such skills. ---Taylor Parkes, Editorial Reviews

Thin Lizzy found their trademark twin-guitar sound on 1975's Fighting, but it was on its 1976 successor, Jailbreak, where the band truly took flight. Unlike the leap between Night Life and Fighting, there is not a great distance between Jailbreak and its predecessor. If anything, the album was more of a culmination of everything that came before, as Phil Lynott hit a peak as a songwriter just as guitarists Scott Gorham and Brian Robertson pioneered an intertwined, dual-lead guitar interplay that was one of the most distinctive sounds of '70s rock, and one of the most influential. Lynott no longer let Gorham and Robertson contribute individual songs -- they co-wrote, but had no individual credits -- which helps tighten up the album, giving it a cohesive personality, namely Lynott's rough rebel with a heart of a poet. Lynott loves turning the commonplace into legend -- or bringing myth into the modern world, as he does on "Cowboy Song" or, to a lesser extent, "Romeo and the Lonely Girl" -- and this myth-making is married to an exceptional eye for details; when the boys are back in town, they don't just come back to a local bar, they're down at Dino's, picking up girls and driving the old men crazy. This gives his lovingly florid songs, crammed with specifics and overflowing with life, a universality that's hammered home by the vicious, primal, and precise attack of the band. Thin Lizzy is tough as rhino skin and as brutal as bandits, but it's leavened by Lynott's light touch as a singer, which is almost seductive in its croon. This gives Jailbreak a dimension of richness that sustains, but there's such kinetic energy to the band that it still sounds immediate no matter how many times it's played. Either one would make it a classic, but both qualities in one record makes it a truly exceptional album. ---Stephen Thomas Erlewine, AllMusic Review

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Thin Lizzy – Nightlife (1974)

2010-07-13T22:07:36Z

Thin Lizzy – Nightlife (1974)


01. She Knows– 5:13
02. Night Life – 3:57
03. It's Only Money – 2:47
04. Still In Love With You – 5:39
05. Frankie Carroll – 2:01
06. Showdown – 4:31
07. Banshee – 1:26
08. Philomena – 3:40
09. Sha-La-La – 3:26
10. Dear Heart – 4:32

Personnel:
- Brian Robertson - guitar
- Brian Downey - drums, percussion
- Scott Gorham - guitar, vocals
- Phil Lynott - bass, guitar, vocals
+
- Jimmy Horrowith - strings arrangements (01,05,10)
- Jean Roussell - keyboards (05,06,10)
- Frankie Miller - joint lead vocals (04)
- Gary Moore - lead guitar (04)

Although this album is rarely mentioned among the classic Lizzy albums, I think it is a very good album. This is the first Thin Lizzy album to feature the twin/harmony Les Paul + Marshall sound of guitar aces Scott Gorham and Brian Robertson. Brian Robertson felt (in an interview I saw) that it was too varied -- although I think the variety makes for an interesting experience. Lizzy always managed to produce distinct songs in the early years, Fighting is a great album in this regard, as is Live and Dangerous.

It's curious that Night Life -- the first album Thin Lizzy recorded for Mercury, the first album to feature guitarists Scott Gorham and Brian Robertson, the album that in many ways kicked off their classic era -- is in many ways a complete anomaly within their catalog. It's a subdued, soulful record, smooth in ways that Thin Lizzy never were before and rarely were afterwards. To be sure, the title Night Life is accurate but not in the sense of this providing a soundtrack for a night out on the town -- quite the opposite actually. This is the soundtrack for an intimate night in, either alone or as a pair, since it has moments ideal for either contemplation or seduction. There are still some moments of tough, primal rock & roll -- there's the funky workout of "It's Only Money" and the nasty "Sha-La-La," both excellent showcases for Gorham and Robertson -- but they stick out among the jazzy, soulful whole, even if they never quite disrupt the mood. And it's that mood that's so appealing about Night Life -- it's a warm, soulful sound that resonates in ways Thin Lizzy's earlier records didn't. And it's not just because of the feel of the music, either, it's due to Phil Lynott's increasing growth as a songwriter. Much of this is quite sentimental -- especially the closing "Dear Heart" -- but it's never saccharine or sappy, it's big-hearted and effecting, best-heard on the gently propulsive, utterly addictive opener "She Knows" and the easy-rolling jazzy "Showdown." These may be the high-water marks on this album, but they're not the only highlights, they're just the most immediate, representative signs of the charms of this underrated gem of a record. ---Stephen Thomas Erlewine, AllMusic Review

Zanim grupa przystąpiła do nagrywania swojego czwartego albumu, ze składu postanowił odejść Eric Bell. W dość widowiskowy sposób - w trakcie występu po prostu rzucił gitarę i zszedł ze sceny. Na jego miejsce zatrudniono Gary'ego Moore'a, z którym Phil Lynott grał już wcześniej w grupie o nazwie Skid Row (nie mylić z amerykańską kapelą, która rozpoczęła działalność kilkanaście lat później), jednak i on wkrótce zrezygnował. Wówczas podjęto decyzje o przyjęciu aż dwóch nowych gitarzystów - Johna Du Canna (ex-Atomic Rooster) i Andy'ego Gee. Było to jednak rozwiązanie tymczasowe, wyłącznie na czas niemieckiej trasy w maju 1974 roku. Po jej zakończeniu zorganizowany został kasting, dzięki któremu do zespołu dołączyli Scott Gorham i Brian Robertson. Jak się okazało, właśnie wtedy narodził się najtrwalszy skład w historii Thin Lizzy, który wystąpił razem na pięciu albumach studyjnych i jednym koncertowym.

Debiutanckie wydawnictwo tego wcielenia zespołu, "Nightlife", prezentuje się jednak niezbyt ciekawie. Prawdę mówiąc, jest zwyczajnie słabe. Słychać, że muzycy nie są amatorami, jeśli chodzi o wykonanie, ale kompozycje (w większości autorstwa samego Lynotta) są w większości miałkie i kompletnie niezapamiętywane, a aranżacje często chybione (tandetne orkiestracje w "Night Life", "Frankie Carroll" i "Dear Heart"). Ale nawet ciekawsze pomysły (jak celtycka melodyka w "Philomena") nie ratują kiepskich kompozycji. Wyjątek stanowi przede wszystkim "Still in Love with You", lekko bluesowa ballada, nagrana jeszcze w czasie współpracy z Moore'em, który doskonale czuł się w takich klimatach. Na plus mogę zaliczyć jeszcze czadowy "It's Only Money" (obok topornego "Sha La La" jedyny tego typu kawałek na albumie), napędzany energetyczną grą Briana Downeya i wyróżniający z dobrą gitarową robotą Gorhama i Robertsona. Swoją drogą, nie rozumiem czemu zatrudniono aż dwóch gitarzystów, skoro prawie w ogóle tutaj nie słychać, że gra więcej niż jeden.

"Nightlife" jest zwyczajnie nudnym wydawnictwem, które niewiele oferuje fanom hard rocka, a dla osób poszukujących czegoś więcej, niż energetycznych riffowców ("It's Only Money") i zgrabnych ballad ("Still in Love with You"), nie ma kompletnie nic do zaoferowania. ---Paweł Pałasz, pablosreviews.blogspot.com

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Thin Lizzy – Thin Lizzy (1971)

2010-07-12T17:22:39Z

Thin Lizzy – Thin Lizzy (1971)


01. The Friendly Ranger At Clontarf Castle (Eric Bell, Phil Lynott) – 3:02
02. Honesty Is No Excuse (Lynott) – 3:39
03. Diddy Levine (Lynott) – 7:04
04. Ray-Gun (Bell) – 3:05
05. Look What The Wind Blew In (Lynott) – 3:22
06. Éire (Lynott) – 2:06
07. Return Of The Farmer's Son (Brian Downey, Lynott) – 4:14
08. Clifton Grange Hotel (Lynott) – 2:25
09. Saga Of The Ageing Orphan (Lynott) – 3:39
10. Remembering, Part 1 (Lynott) – 5:57
Bonuses:
11. Dublin (Lynott) – 2:26
12. Remembering, Part 2 (New Day) (Lynott, Bell, Downey) – 5:04
13. Old Moon Madness (Lynott) – 3:52
14. Things Ain't Working Out Down At The Farm (Lynott) – 4:29

Personnel:
- Phil Lynott - bass, acoustic guitar, lead vocals
- Eric Bell - lead guitar, 12-string guitar
- Brian Downey - drums, percussion
+
- Ivor Raymonde - mellotron (02)

Thin Lizzy was originally conceived as a power trio in the image of Cream and the Jimi Hendrix Experience, but Eric Bell lacked the charisma of those groups' guitarists, forcing vocalist/bassist Philip Lynott to take center stage from day one. Despite his already poetic, intensely personal lyrics, Lynott was only beginning to develop as a songwriter, and the band's unfocused, folk-infused early efforts are a far cry from their mid-'70s hard rock glory. Recorded on a shoestring budget, their self-titled debut is surprisingly mellow; many songs, such as "Clifton Grange Hotel" and "The Friendly Ranger of Clontarf Castle," sound confused and unfinished. Quiet ballads like "Honesty Is No Excuse," "Eire," and "Saga of the Ageing Orphan" abound, while supposed rockers such as "Ray-Gun" and "Return of the Farmer's Son" fall remarkably flat. In fact, Lizzy only bare their claws on "Look What the Wind Blew In," a gutsy rocker that hints at things to come. ---Eduardo Rivadavia, AllMusic Review

Irlandzka grupa Thin Lizzy powstała pod koniec lat 60., gdy dwóch byłych członków zespołu Them, gitarzysta Eric Bell i klawiszowiec Eric Wrixon, postanowili połączyć siły z muzykami amatorskiego zespołu Orphanage - śpiewającym basistą Philem Lynottem i perkusistą Brianem Downeyem. Grupa szybko podpisała kontrakt z EMI i już w lipcu 1970 zadebiutowała singlem z utworami "The Farmer" i "I Need You". Było to zarazem ostatnie wydawnictwo z Wrixonem, który postanowił opuścić zespół. Pozostała trójka wkrótce zarejestrowała swój debiutancki album, zatytułowany po prostu "Thin Lizzy". Pokazuje on, ze w tamtym czasie muzycy nie wiedzieli jeszcze do końca, co właściwie chcieliby grać. Longplay jest dość chaotyczną mieszanką folku, hard rocka, funku i psychodelii.

Niestety, większość utworów wypada bardzo bezbarwnie. Zarówno wtedy, gdy zespół proponuje folkowe piosenki (np. naiwny i przesłodzony "Honesty Is No Excuse", mdły "Saga of the Ageing Orphan"), gra bardziej rockowo (np. rozwleczony "Diddy Levine", sztampowy hardrocker "Look What the Wind Blew In"), jak i gdy próbuje eksperymentować (psychodeliczny "The Friendly Ranger at Clontarf Castle"). Nieco lepiej robi się w "Ray-Gun", pomimo (a może dzięki) ewidentnej inspiracji Hendrixem z okresu Band of Gypsys. Świetnie wypada funkowa gra sekcji rytmicznej, Lynott całkiem nieźle imituje wokal Hendrixa, ale Bell z naśladowaniem jego gitary wypadł już zdecydowanie słabiej. Nie najgorszy jest utrzymany w podobnym stylu "Return of the Farmer's Son". Broni się ballada "Eire", z dość gęstą, psychodeliczną atmosferą - szkoda tylko, że tak wcześnie się kończy. I to by było na tyle. Żaden z tych trzech bardziej udanych kawałków nie porywa, ale na tle całości wypadają całkiem przyzwoicie.

Na debiutanckim albumie Thin Lizzy absolutnie nic nie klei się w spójną całość. Co gorsze, poszczególnym utworom brakuje wyrazistości i własnego charakteru. Zespół na tym etapie dopiero szukał odpowiedniego dla siebie stylu i uczył się komponowania. Nawet śpiew Lynotta nie jest tak charakterystyczny, jak na późniejszych albumach. Nawet będąc wielkim fanem hard rocka, można sobie darować ten album, a nie sądzę żeby zainteresował on słuchaczy folku lub psychodelii. Nie ma tu niczego, czego wcześniej ktoś by nie nagrał nieporównywalnie lepiej. ---Paweł Pałasz, pablosreviews.blogspot.com

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Thin Lizzy – Thunder & Lightining (1983)

2010-11-08T15:30:51Z

Thin Lizzy – Thunder & Lightining (1983)


1. "Thunder and Lightning" (Downey, Lynott) – 4:55
2. "This Is the One" (Lynott, Wharton) – 4:02
3. "The Sun Goes Down" (Lynott, Wharton) – 6:18
4. "The Holy War" (Lynott) – 5:13
5. "Cold Sweat" (Lynott, Sykes) – 3:06                play
6. "Someday She Is Going to Hit Back" (Downey, Lynott, Wharton) – 4:05
7. "Baby Please Don't Go" (Lynott) – 5:11
8. "Bad Habits" (Gorham, Lynott) – 4:05
9. "Heart Attack" (Gorham, Lynott, Wharton) – 3:38     play

Personnel:
* Phil Lynott - bass, vocals
* Brian Downey - drums, percussion
* Scott Gorham - guitar, backing vocals
* John Sykes - guitar, backing vocals
* Darren Wharton - keyboards, backing vocals

This extraordinary heavy metal showdown is a 1983 release, entitled Thunder And Lightning, and constitutes, until now, the last album released by Thin Lizzy. It is also their last album with Phil Lynott before he died in 1986. Musically and emotionally it has a big impact in any Thin Lizzy fan, musically because it's a high quality heavy metal album and emotionally because it's the last album to feature Phil Lynott's legendary voice.

Thunder And Lightning is the band's heaviest album ever, it contains strong heavy metal elements, that makes this album a very strong and intense output in their discography. Lyrically, the band was able to write their best compositions in years. It opens with the powerful and enraged "Thunder And Lightning" that makes the general image of the record; although their heaviest release, Lynott and company were able to maintain their typical style of playing, combining melody and dark lyrics like "Heart Attack " or "The Sun Goes Down"; but also, some strong love songs like "Baby Please Don't Go". Although Thin Lizzy weren't and aren't a commercial rock band, in every single album they released, the band always had some big hits. Thunder And Lightning wasn't an exception with hits such as the title track, "Cold Sweat", and "The Sun Goes Down". This epic contains two different sounds: the classic sound of Thin Lizzy, combines melody and fast instrumental parts, but also, shows a darker and enraged side of the band with heavier instrumental parts and darker lyrics making it an instant classic. Technically it is perfect and the band's performance is extraordinary making it one of the best of the group. Phil Lynott's voice and bass strings are perfect, with some excellent bass composition that allows this album to be as heavy as it is, and his voice is and always was…just perfect, enraged when necessary, but also melodic or romantic in love songs or when catchy songs come in to play; Gorham's and Sykes' guitars are aggressive and heavy with some excellent riffs and solos in songs like "Cold Sweat", "Thunder And Lightning" or "Baby Please Don't Go"; Downey's performance is divided into two parts, the fast/melodic compositions and the more aggressive and heavy drum compositions making one of his best performances in his career.

Thunder And Lightning was a change in direction for the band for a more aggressive and heavy sound. It was risky but the band "placed their bet and won", for a big margin. It's so complete; the band innovated but didn't forget their past. The band delivers, indeed, thunder and lightning! It's one of 1983's finest in every way possible. For me it's their second best album only surpassed by the awesome Black Rose. Thunder And Lightning is a hymn for heavy metal and hard rock music. ---AndMetalForAll, metalstorm.net

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