Thin Lizzy "Wild One - The Very Best of Thin Lizzy" (1996)

Wild One - The Very Best of Thin Lizzy (compilation)

release date: Jan. 9, 1996
format: cd
[album rate: 4 / 5]
producer: various
label: Vertigo Records - nationality: Ireland

A compilation album by Thin Lizzy released as a 10 years commemoration tribute to Phil Lynott, who passed away Jan. 1986. Now, this is a mighty fine collection of 19 tracks featuring both hard rock energetic rock classics and more soft rock ballads. It represents most of Lynott's career in Thin Lizzy and also contains the early Thin Lizzy classic "Whiskey in the Jar" a traditional arranged by Lynott, Bell and Downey that many associate with the band but which wasn't released on any of their studio albums. And then there are two live recordings showcasing the strength of the band's live performances.
This compilation probably isn't the best with the band but it's also a rather impossible task to make the one best of compilation with a band, who has been through such diverse stages. Some people really like their early works, others prefer the simplistic hard rock-period, and even in that segment you'll find various preferences - some will enjoy the heavy metal-sound and others the twin-guitar harmonies - and then there's the big portion of pop rock-balladry that have found way to another segment of fans. And you  just cannot satisfy them all. Some will have an affection for the Eric Bell-period, the Robertson-Gorham period, the Gary Moore-influence, and the Snowy White-era. You'll find dozens of best of albums, some 2-disc compilations, some even more extensive but they probably won't feel completely satisfactory anyway. I like the 2020 3-disc Essential issued by Universal, which in a way is like an extended version of the album mentioned here, as it both gives room for classics from various stages, including hard rockers, softer ballads, and some live versions - only with a broader repertoire - but to imagine that you will be able to go out and find a single-disc or a single vinyl album containing the best songs is not likely.
Recommended.
[ allmusic.com 4,5 / 5, Q magazine 4 / 5 stars ]

Thin Lizzy "Thunder and Lightning" (1983)

Thunder and Lightning

release date: Mar. 4, 1983

format: digital

[album rate: 3 / 5] [3,15]

producer: Thin Lizzy and Chris Tsangarides

label: Vertigo - nationality: Ireland

Track highlights: 2. "This Is the One" - 3. "The Sun Goes Down" - 5. "Cold Sweat" - 8. "Bad Habits"

12th and final studio album by Irish hard rock band Thin Lizzy following 1½ years after Renegade (Nov. 1981) is once again produced with sound engineer Tsangarides. Since the 81-album, guitarist Snowy White left and is here replaced by John Sykes.

The style of the band has changed since the twin-guitars ruled the soundscape in the second half of the 70s. Here, Thin Lizzy play a more generic hard rock with traits from pop rock and / or a soft rock scene, which imo doesn't make it one of the band's better, which is a sad way to end, I think. However, I also know that fans of the band generally think better of this and many consider it bettering the predecessor. I don't agree on this. To me, this is without great songs, or the best one is the boldest pop rock tune "The Sun Goes Down", which admittedly, is far from the best songs on Jailbreak. I simply think of it as an album of outtakes, or say: a band going through the motions trying to repeat what used to work but just without great hooks or catchy phrases, and instead they, once again, seems to be in search of a new style. It's predominantly hard rock-shaped, and pop rock is just one mainstream style you'll find here. Track #4 "The Holy War" could be labelled dance rock and sounds misplaced here. And then Scott Gorham and John Sykes are not Gorham and Brian Robertson - had they only tried to evoke some of the magic twin-guitar harmonics, but instead Gorham plays without originality, or he has role is more subdued on account of keyboards and screaming guitars, while Lynott does his best to come up with something original. People, who have been close to or former band members have described the destructive life-style that was part of Thin Lizzy, and Lynott is said to face harder days in hiding his drug abuse, which ultimately had serious effects on his life. The band went on a long tour playing songs from the album but Lynott disbanded Thin Lizzy in late '83 at a time when Gorham wanted to quit. In '84, he formed a new band, Grand Slam, who is said to have been a pale imitation of Thin Lizzy.

Thunder and Lightning is not the band's worst album but it's not among their best.

Not recommended.

[ allmusic.com 3 / 5, Smash Hits 3 / 10 stars ]

Thin Lizzy "Renegade" (1981)

Renegade

release date: Nov. 20, 1981

format: cd (1990 reissue)

[album rate: 3 / 5] [3,08]

producer: Thin Lizzy, Chris Tsangarides

label: Vertigo - nationality: Ireland

Track highlights: 1. "Angel of Death" - 2. "Renegade" - 5. "Hollywood (Down on Your Luck) - 6. "No One Told Him" - 9. "It's Getting Dangerous"

11th studio album by Thin Lizzy following one year after Chinatown (Oct. 1980) is again made with a new co-producer - a sound engineer for Judas Priest, who later co-produced Gary Moore's debut on which Phil Lynott co-wrote the fine "Parisienne Walkways". The album is the first with keyboardist Darren Wharton as official member.

The album is not renowned as one of Thin Lizzy's best, and I do understand that. In total, the band ended up with 12 studio albums and their final three are mostly left out of what is considered the band's best. Chinatown may be one of my favourites but as I have come to understand, fans of the band saw it as a detour, or: an album a bit off, but Renegade appears to be less loved - in fact, it's claimed that the band themselves have regarded this as their worst. Imo, it's not entirely that but it really lacks great songs - generally, that is, 'cause Lynott and Scott Gorham still knows what it takes to make a great tune - the real problem is that there are just too many fillers on this one to make it a good album. And then the production sound doesn't help much as it feels shallow and thin compared to the bolder arrangements on the band's earlier releases. On the hard rock forum Metalmusicarchives.com the album takes position as the band's tenth best (or 3rd worst) with only the debut (1971) (as eleventh) and second album Shades of a Blue Orphanage (1972) as its worst.

Not recommended.

[ allmusic.com, Rolling Stone 2 / 5

Thin Lizzy "Chinatown" (1980)

Chinatown
release date: Oct. 10, 1980
format: cd (2011 remaster)
[album rate: 4 / 5] [3,86]
producer: Thin Lizzy & Kit Woolven
label: Universal / Mercury - nationality: Ireland

Track highlights: 1. "We Will Be Strong" - 2. "Chinatown" - 3. "Sweetheart" (4,5 / 5) - 4. "Sugar Blues" - 5. "Killer on the Loose" - 6. "Having a Good Time" (4 / 5) - 7. "Genocide" - 8. "Didn't I" (4,5 / 5) - 9. "Hey You"

10th studio album by Thin Lizzy follows 1½ years after Black Rose - A Rock Legend (Apr. 1979). The album was released on Vertigo the same year as Phil Lynott released his first solo album Solo in Soho (Apr. 1980), and after a period where the band had been in search of a replacement to Gary Moore who had left in the Summer of '79. Midge Ure (later famous for revitalizing Ultravox) had been touring with the band, but Snowy White [Terence Charles] was chosen as new guitarist. Both Ure and keyboardist Darren Wharton are credited for additional personnel, and Wharton would later be a permanent member.
The album was the first I ever heard with the band, and it has always been one of my favourites. Some consider the album a weaker and more mainstream-oriented album compared to Black Rose and / or Jailbreak (1976) and the band's final and more hard rock / heavy metal-founded Thunder and Lightning (1983); and some think the production side is weak with a noticeable loss of star-producer Tony Visconti. However, Kit Woolven also co-produced Lynott's debut, which has a different, more complex and darker sound that was met by positive reviews,
I really like Chinatown because of its focus on harmonies whether the vocal side of it or the the great twin-guitars, and I really cannot hear a lesser effect on the production side. Actually, I find it lighter and brighter - meaning better - compared to Visconti's dark and heavy production (especially as found) on Black Rose. Perhaps, I just found this more in unison with the more shallow but also more direct productions of the new wave and punk rock scene. Any how, the compositions on Chinatown appear more simple-structured when comparing with the band's more blues-rock-inspired work, which to me seemed somewhat out of sync, at the time. Although, the hard rock tracks are fine and strong, I really associate Phil Lynott's best works with strong ballads, and here there are two great ones. In my mind, this is the band's second best album.
Highly recommended.
[ allmusic.com 3 / 5 stars ]

Thin Lizzy "Black Rose - A Rock Legend" (1979)

Black Rose - A Rock Legend
release date: Apr. 13, 1979
format: cd (remaster)
[album rate: 4 / 5] [3,84]
producer: Tony Visconti
label: Vertigo / Mercury - nationality: Ireland

Track highlights: 1. "Do Anything You Want To" - 2. "Toughest Street in Town" - 4. "Waiting for an Alibi" - 5. "Sarah" - 6. "Got to Give It Up" (live) - 9. "Roisin Dubh (Black Rose) - A Rock Legend"

9th studio album by Thin Lizzy following Bad Reputation (Sep. 1977) and the release of the band's first live album Live and Dangerous (Jun. 1978) - meaning this is the first time we see 1½ years in between studio albums. Of course, the departure of guitarist Brian Robertson in '78 required time to find a substitute, and Lynott managed to persuade Gary Moore as a well-suited replacement. Again, it's with Visconti as producer, and with Moore on guitar this is almost naturally quite a strong release. Stylistically, it's close to being a natural follower to Jailbreak (1976), and it's one of the band's best received and most popular albums.
It's definitely fine but I find that it lacks tracks like "Romeo and the Lonely Girl" and "Southbound". Tracks #1, #4, and #5 really come close to being truly great but just miss out by something, I think. Gary Moore only stayed long enough to record this album and eventually left to pursue his own solo career, which seems like a reasonable choice when looking at his stronger blues rock style compared to the soft rock / pop / rock style of tracks #4 and #5. Alledgedly, Moore left for other reasons - one supposedly being that the lifestyle led by the band wasn't exactly a healthy one and Moore found he had to leave, to survive. The track "Roisin Dubh... - A Rock Legend" is interesting as it contains celtic rock guitar elements not really heard before by Thin Lizzy, although, Lynott apparently always had wanted that musical source as part of their music. The guitar solo is of course Moore's but it makes me wonder if it could be a source of inspiration to the guitar sound of Stuart Adamson of Big Country. Anyway, the track is strongly progressive and experimental showcasing new fine skills.
Anyway, I generally find the album representing a general whole by being one of the band's most coherent studio releases and basically aspiring to greatness. The best thing about it, is that all tracks are on a high level and that the album doesn't contain obvious fillers.
Strongly recommended.
[ allmusic.com 4,5 / 5 stars ]

Thin Lizzy "Live and Dangerous" (1978) (live)

Live and Dangerous (live)

release date: Jun. 2, 1978
format: cd (1996 reissue)
[album rate: 4 / 5]
producer: Thin Lizzy and Tony Visconti
label: Vertigo / Mercury - nationality: Ireland

1st live album by Thin Lizzy originally released as a double vinyl album with live recordings from venues in the UK, the US, and from Canada in 1976 and '77.
The album was met with positive reactions and has gained status as one of the best live albums of contemporary pop / rock, e.g. British music magazine NME ranked the album as number #1 in its "50 Greatest Live Albums of All Time" in 2011.
Highly recommended.
[ allmusic.com 4,5 / 5 Sputnikmusic, Classic Rock 5 / 5 stars ]

Thin Lizzy "Bad Reputation" (1977)

Bad Reputation
release date: Sep. 2, 1977
format: cd (2011 remaster)
[album rate: 3,5 / 5] [3,72]
producer: Tony Visconti
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "Soldier of Fortune" - 2. "Bad Reputation" - 4. "Southbound" (5 / 5) - 5. "Dancing in the Moonlight (It's Caught Me in Its Spotlight)" (4 / 5) - 6. "Killer Without a Cause" - 7. "Downtown Sundown" - 8. "That Woman's Gonna Break Your Heart"

8th studio album by Thin Lizzy following the uneven Johnny the Fox (Oct. 1976) is the final with a stable line-up in more than three years. The album is the last to feature guitarist Brian Robertson who is only credited on three tracks (tracks #3, #6, and #8) due to conflicts within the band about musical direction - at the time of the release Robertson was no longer an official member, which is suggested by the album cover depicting only Lynott, Gorham, and Downey. Interestingly, it's the first collaboration work with already legendary producer Tony Visconti, which I think, may come through as a fine instrumental balance throughout the album. Apparently, the band had been through a phase of dispute concerning musical directions, which seems quite natural as Lynott and Downey had been together through several stylistic changes, and with Gorham and Robertson, the band had pursued a bolder hard rock-style compared to the early albums without the twin-guitars. Also, some of Lynott's best songwriting may shine stronger in his slower and more ballad-shaped compositions, which produced a bit of a contrast to much of the band's newer style.
Bad Reputations may not be as strong or consistent as Jailbreak, but it contains some really fine songs, including "Southbound", a song I consider among the band's top-3 songs ever, and it's certainly an improvement compared to Johnny the Fox.
Recommended.
[ allmusic.com 4,5 / 5 stars ]

Thin Lizzy "Johnny the Fox" (1976)

Johnny the Fox
release date: Oct. 16, 1976
format: cd (1990 reissue)
[album rate: 3,5 / 5] [3,45]
producer: John Alcock
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "Johnny" - 3. "Borderline" - 4. "Don't Believe a Word" - 5. "Fools Gold" -7. "Old Flame" - 9. "Sweet Marie"

7th studio album by Thin Lizzy released only 7 months after the acclaimed Jailbreak (Mar. 1976) couldn't but turn out as a weaker release. Despite using the same producer as on the band's biggest success, the album doesn't showcase the same strict and simple soundscape. Instead, Johnny the Fox has a much more symphonic sound. It's known as the first album where tensions between Lynott and guitarist Brian Robertson didn't help much in the recording process, but why on Earth they were pursuaded (or: forced) to embark on yet another album after this short period didn't do much good. Perhaps, the record company - as they are notoriously infamous for - really just wanted to get as much as they possibly could from this new gold mine but that doesn't explain why they decided to try new arrangements and what appears as a new sound.
Anyway, Johnny the Fox isn't all bad - far from it - but it does fall out somewhat pale compared to the predecessor and to the album that was to follow.
[ allmusic.com 4 / 5 stars ]

Thin Lizzy "Jailbreak" (1976)

Jailbreak
release date: Mar. 26, 1976
format: cd (1990 reissue)
[album rate: 4 / 5] [3,88]
producer: John Alcock
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "Jailbreak" (4 / 5) - 2. "Angel From the Coast" - 3. "Running Back" (4 / 5) - 4. "Romeo and the Lonely Girl" (4,5 / 5) - 5. "Warriors" - 6. "The Boys Are Back in Town" (4,5 / 5) - 7. "Fight or Fall"

6th studio album by Thin Lizzy follows only 6 months after Fighting (Sep. 1976) but that short period doesn't affect the quality of the songs. John Alcock is producer and the line-up is unchanged but the band really has found its sound of hard rock with this one. The directness of the predecessor has been accentuated but it's more in the musical output and in the songwriting that the album stands above all of their previous releases. It's not the hard rock style exemplified by Deep Purple, AC/DC or Queen. Thin Lizzy's music is still founded on more bold harmonies, heard in chorus lines and lead guitar notes and with the sonic power of twin guitars.
Jailbreak is one of the band's best reviewed albums and it reached number #10 on the albums chart list in the UK. I don't think that I ever listened to the album until the early 80s when I didn't think much of it. To me, the music and the band represented a different style and time, but it also appealed to another subculture, who didn't enjoy new wave or punk rock.
Today, I consider this the band's peak.
[ allmusic.com 5 / 5 stars ]

Thin Lizzy "Fighting" (1975)

Fighting
release date: Sep. 12, 1975
format: cd (2012 remaster)
[album rate: 3,5 / 5] [3,53]
producer: Phil Lynott
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "Rosalie" - 2. "For Those Who Love to Live" - 3. "Suicide" - 4. "Wild One" - 5. "Fighting My Way Back" - 7. "Spirit Slips Away" - 9. "Freedom Song"

5th studio album by Thin Lizzy following the near precise one year interval in between studio albums and after Nightlife (Oct. 1974). The guitar-duo of Scott Gorham and Brian Robertson has been placed more upfront on this one and it comes out as a Thin Lizzy-album with the characteristic sonic style founded on two dominant electric guitars.
The album may not be that much better compared to the song material on the predecessor but there's definetely a process that has been initiated, which points clearer towards a more succesful outcome. The style has been accentuated - the album is more direct, the sound is harder when comparing with previous releases and it basically turns out as the band's so far most coherent album. The compositions are not quite there yet but the sound is closing in. "Wild One" is the first track that really points to future successes. It comes with the typical twin-guitars playing together, enriching one another in harmony, and there's room for Lynott to lay out his story. It's also evident that the band here has left behind stylistic impulses with soul and funk and come cleaner on its own type of hard rock.
Fighting may be babysteps but it's still Thin Lizzy showing a natural progression, and at least the guitars are out in the open.
[ allmusic.com 4,5 / 5 stars ]

US and Canadian cover

Thin Lizzy "Nightlife" (1974)

Nightlife
release date: Oct. 1974
format: cd (reissue)
[album rate: 3,5 / 5] [3,46]
producer: Phil Lynott, Ron Nevison
label: Vertigo Records - nationality: Ireland

Track highlights: 1. "She Knows" - 3. "It's Only Money" - 4. "Still in Love with You" (4 / 5) (live) - 6. "Showdown" - 8. "Philomena" - 9. "Sha-La-La"

4th studio album by Thin Lizzy following the band's '73 album Vagabonds of the Western World marks a significant change to the band's line-up as guitarist Eric Bell prior to the recordings for the album left the trio during a live tour. Gary Moore shortly replaced Bell for remainding concerts but left again before the actual recordings for the album. Lynott arranged auditions for the band and subsequently hired guitarist Brian Robertson and American guitarist Scott Gorham as replacements for Bell. Bringing in two guitarists naturally made an impact on the sound of the band, and in this regard Nightlife contains signs of a more original sound and also it introduces some of Lynott's classic works and Thin Lizzy appeared in its 'first' famous line-up as a quartet of Lynott, Gorham, Robertson, and Downey. Using two guitarists was rather unusual for a traditional rock band but it also made way for a unique sonic shape. Eric Bell hadn't succeeded in exquisite performances, and it seems that both Robertson and Gorham simply made each other better instrumentalists.
Although, now including two guitarists, Nightlife could still be considered the band's most laid-back and least hard rock studio album with both funk and soul elements on an overall coherent blues rock-founded release. Gary Moore had only a short replacement period of a few months in the band but he still co-wrote a few songs with Lynott and he contributes on lead guitar on "Still in Love with You".
Nightlife is probably the band's first coherent studio album, and it contains traits of the twin-guitar sound that from hereon would be a specific trademark of the band, and at the same time it showcases Lynott's capacity as a songwriter and as a soulful rock vocalist on a higher level.
[ allmusic.com 3,5 / 5 stars ]

Thin Lizzy "Vagabonds of the Western World" (1973)

Vagabonds of the Western World
release date: Sep. 21, 1973
format: cd (1990)
[album rate: 3 / 5] [3,18]
producer: Nick Tauber
label: Decca / Deram Records - nationality: Ireland

Track highlights: 1. "Mama Nature Said" - 4. "The Rocker" - 5. "Vagabonds of the Western World" - 6. "Little Girl in Bloom"

3rd studio album by Thin Lizzy originally released on Decca Records following the album Shades of a Blue Orphanage (Mar. 1972) is also produced by Nick Tauber. The album was made after the band experienced its first real success with the cover single "Whiskey in the Jar", which they appear to have been pushed into making much against their will because the style of the song didn't match their own ideas. Nevertheless, the song became a hit, and it paved the way for the making of this very album.
Stylistically, the band touches on some of its later characteristic sonics, although, there's still a lot of more traditional blues rock and various other influences around making it a bit of a mixed experience as had been the case with the predecessor. That said, Vagabonds of the Western World stands as a more cohessive album and it also foreshadows some of the stronger original tone that would materialize somewhat later.
[ allmusic.com 3,5 / 5 stars ]

Thin Lizzy "Shades of a Blue Orphanage" (1972)

Shades of a Blue Orphanage

release date: Mar. 10, 1972

format: cd (1988 RE)

[album rate: 2,5 / 5] [2,35]

producer: Nick Tauber

label: Decca / Deram Records - nationality: Ireland

Track highlights: 2. "Buffalo Gal" - 5. "Brought Down"

2nd album by Thin Lizzy follows one year after the debut and the line-up remains the same trio of Lynott, Bell and Downey. The strange title refers to two former bands: Eric Bell had started playing in 'Shades of Blue' and Phil Lynott and Brian Downey had both played together in the band 'Orphanage' before founding Thin Lizzy.

Although, the album contains a song originally only titled "Sarah" (track #5), this shouldn't be confused with the later much more famous "Sarah", included on Black Rose: A Rock Legend from 1979, which is why the 1988 cd reissue has labelled this "Sarah - Version I". They are two completely different songs and they pay tribute to two different Sarahs: Lynott's grandmother is the one he pays tribute to on this one., and with the '79-song, he has written a song to his newborn daughter. And the first song here just doesn't come anywhere close to the magnitude of his later song co-composed by Gary Moore.

Shades of a Blue Orphanage is a strange cocktail of styles, and it's still difficult to bond this with the later scope of the band. Some tracks here have psychedelic rock elements, others are influenced by folk rock or funk rock and it's as if there's no common denominator. "I Don't Want to Forget How to Jive" (track #3) is a strange rock & roll and rockabilly composition to put it mildly, which almost derails any coherency intended and you could say the same for the (only) hard rock-styled track "Baby Face" (track #6). "Chatting Today" reminds me more of Van Morrison and Them, and Lynott actually puts on a vocal that comes closer to that of Van the Man without being more than a copy. The following track "Call the Police" (track #8) could instead serve as a mild imitation of Frank Zappa & the Mothers - which of course is something different - and the title end-track is a soft rock, r&b mellow progressive (!) folk ballad, which takes confusion to another level.

No, this is not where you would want to start an intro to this later renowned Irish rock band but that said, the album contains the delicate and personal voice of Lynott, who already proves his worth as a songssmith on several tracks.

Mostly for completionists.

[ allmusic.com 3 / 5, Pitchfork 6,3 / 10 stars ]

Thin Lizzy "Thin Lizzy" (1971)

Thin Lizzy [debut]
release date: Apr. 30, 1971
format: digital
[album rate: 2,5 / 5] [2,48]
producer: Scott English
label: Decca Records - nationality: Ireland

Track highlights: 5. "Look What the Wind Blew In" (3 / 5) - 7. "Return of the Farmer's Son"

Studio album debut by Thin Lizzy, founded as a quartet but here a trio that had been formed in Dublin, Ireland consisting of Phil Lynott [Philip Parris Lynott] on vocals, bass guitar and acoustic guitar, Eric Bell on lead guitar and twelve-string guitar, and with Brian Downey on drums and percussion. The style is a blend of hard rock, blues rock and folk rock with some psychedelic rock traits, and in that way appears as strongly inspired by the sound of The Jimi Hendrix Experience (and Cream), especially on "Return of the Farmer's Son".
I don't find it all that interesting except from being the first by this later great band. The music is like sketches of covers, bits from here and there pointing to different sources of inspiration. Lynott's vocal is fine and although guitarist Eric Bell was inspired by The Shadows and Hendrix, he didn't have the same impact as Gary Moore and Scott Gorham later would signify for the band.
[ allmusic.com 3 / 5 stars ]