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 ]

Greyhounds "I (Who Have Nothing)" (1969) (single)

I (Who Have Nothing), 7'' single

release date: 1969

format: vinyl (SC 1106)

[single rate: 2,5 / 5] [2,68]

producer: ?

label: Scan-Disc - nationality: Sweden

Tracklist: A) "I (Who Have Nothing)" - - B) "Theme From the Wild Angels"

Single release from Swedish rock band Greyhounds. The A-side is credited 'Mogul - Donida - Leiber - Stoller'. Now, I know who Leiber & Stoller are. Mogul was a moniker for Italian songwriter Giulio Rapetti and Carlo Donida was an Italian composer and together they made the song "Uno dei tanti" ['One of the Many' / 'One Among Many'], which was transposed to English with new lyrics by songwriter-duo Jerome Leiber & Mike Stoller. The Italian song was originally performed by Joe Sentieri in 1961, and the translated version was initially performed by Ben E. King in 1963 [see more info on other versions here]. The B-side is credited Mike Curb, who made music to Roger Corman's 1966 film "The Wild Angels". There's not much other info on the vinyl labels or on the cover, which has identical sides, but the band appears to consisting of lead vocalist Bo Hellström, guitarist Roger Blomdahl, bassist Rolf Ahlin, keyboardist and vocalist Willy Björkman, and drummer Hasse Andersson.

This single probably comes from my older brother's record collection. I think, the cover somehow signals more than their music - and they could have only just watched Dennis Hopper's "Easy Rider", which premiered Jul. 1969, but most certainly knew of Corman's "The Wild Angels", in which the B-side original is found - and they try really hard to pose as a Swedish Steppenwolf copy.

I recall putting the single on the turntable as a kid and being disappointed about not really finding any enjoyment in it. Now, some five decades later, I still don't find much pleasure from it.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Volbeat "Seal the Deal & Let's Boogie" (2016)

Seal the Deal & Let's Boogie

release date: Jun. 3, 2016

format: digital (2 cd) (Deluxe Edition)

[album rate: 3 / 5] [2,78]

producer: Jacob Hansen; Michael Poulsen & Rob Caggiano

label: Vertigo / Universal Music - nationality: Denmark

Track highlights: 2. "Marie Laveau" - 3. "For evigt" (feat. Johan Olsen) (live) - 4. "The Gates of Babylon" - 5. "Let It Burn" - - Bonus disc: 2. "The Bliss"

6th studio album by Volbeat released more than three years following Outlaw Gentlemen & Shady Ladies (Apr. 2013). The album is the band's so far only to be released as a trio with founding members, band leader and primary songwriter and composer Michael Poulsen and drummer Jon Larsen together with Rob Caggiano, who is not only credited as lead guitarist but also as bassist after longtime member bassist Anders Kjølholm left the band in 2015. One month prior to the album release, it was announced that Kaspar Boye Larsen would be the band's new bassist. The standard release contains 13 tracks, whereas the 2-disc Deluxe Edition adds four tracks to the album of which track #2 is an English version of "For evigt" with Mia Maja as (hardly noticeable) additional vocalist.

Musically, the band continues in the same circles, or you might suggest: on the exact same spot, as it sounds like yet another extension to what they did on their previous two releases. But that's just my opnion. Poulsen's vocal hardly ever leaves a fixed register and the guitars repeat 1970s melodic hard rock notes while song choruses repeat familiar choruses from other songs - only with some new words as only difference. The band's previous big hit "The Garden's Tale" featuring Johan Olsen from Magtens Korridorer has actually been surpassed by the band's new huge hit song "For evigt" again featuring Olsen on additional vocal. That song has by now nearly gained status as an alternative national anthem. A few fine songs just don't make the whole big difference for a band who seems to be satisfied in reproducing itself - indefinitely. After a few highlights - where you still notice the band's reproductive sound and melody structures, the album simply fades, approaching mediocre.

Track #3 aside, this is not recommended.

[ allmusic.com 3,5 / 5, Gaffa.dk 4 / 6 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 ]

Marilyn Manson "Portrait of an American Family" (1994)

Portrait of an American Family
release date: Jul. 19, 1994
format: digital
[album rate: 2,5 / 5] [2,32]
producer: Trent Reznor
label: Nothing / Interscope - nationality: USA

Track highlights: 5. "Cyclops" - 7. "Get Your Gunn" - 8. "Wrapped in Plastic"

Studio debut album by American metal rock band Marilyn Manson produced by Nine Inch Nails' front figure Trent Reznor and released through his newly founded label Nothing Records. At this stage Marilyn Manson was now seen as a band, although, it was initially named Marilyn Manson and the Spooky Kids from 1989, which included founding member Marilyn Manson [aka Brian Warner] on vocals with guitarist Daisy Berkowitz [aka Scott Putesky] and bassist Olivia Newton Bundy [aka Brian Tutunick]. From around 1990 Bundy left and was replaced by Gidget Gein [aka Brad Stewart], and from around '91 the band also included keyboardist Madonna Wayne [aka Stephen Bier] and drummer Sara Lee Lucas [aka Fred Streithorst]. The band name was shortened to Marilyn Manson in '92 when the five initiated the works on what would be this album - initially titled "The Manson Family Album", but the band was very unsatisfied with the production sound and contacted Reznor who accepted to rework the recordings at what point Gein was replaced by the band's roadie Twiggy Ramirez [aka Jeordie Osbourne White] due to Gein's heroin addiction.
Stylistically, it's industrial metal and alt. metal, which incorporates various samples on almost all tracks, and thematically, the band keeps to compositions and songs drawing its attention on the hypocrisy of American lifestyle.
The early works by Marilyn Manson nor this album has never been a personal favourite of mine. It's simply too heavy metal-based for my liking, and I reject the music like I do with albums by Alice Cooper, Ozzy Osbourne, Iron Maiden, Metalica, Korn and many others who deal with heavy metal, as I never was a fan of the metal 'circus'. The only reason I ever came around this album is because of my interest in the band's later works with a stronger gothic rock tone pointing at some of the 1980s post-punk artists, and because I do like some alt. metal bands, who incorporate elements from the world of alt. rock, post rock or punk-rock, and then I really like the videos Marilyn Manson made together with Canadian-Italian director Floria Sigismondi.
[ allmusic.com 3,5 / 5, Rolling Stone 2 / 5 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 ]

Volbeat "Outlaw Gentlemen & Shady Ladies" (2013)

Outlaw Gentlemen & Shady Ladies
release date: Apr. 9, 2013
format: digital
[album rate: 2,5 / ] [2,74]
producer: Robert Caggiano & Volbeat; Jacob Hansen
label: Vertigo - nationality: Denmark

Track highlights: 2. "Pearl Hart" - 3. "The Nameless One" - 5. "Cape of Our Hero"

5th studio album by Volbeat follows 2½ years after Beyond Hell / Above Heaven (Sep. 2010) is the band's first not to be with Jacob Hansen as only producer. In fact he is "only" credited as co-producer and the album being produced by Robert Caggiano (guitarist of Anthrax) together with Volbeat. The line-up has changed with Caggiano also replacing Thomas Bredahl as lead guitarist. The album is the band's final with bassist Anders Kjølholm, who left the band in 2015.
Slowly, and almost unnoticed these guys have become the biggest international Danish act. They haven't changed much but they have distilled what they do the best. Soundwise, this may be on another level, but I don't really think, it's their best. Some would probably say that this is their most popular heavy metal or their most alternative metal-shaped album so far. The style copies their successful 2010-album with a few tracks with hints of alt. country, which doesn't make it much better. Too many tracks are simply not my taste and there's too much headbanging heavy metal, but overall, it may be a small improvement.
Not for me - not recommended.
[ allmusic.com 4 / 5 stars ]

The Who "Who's Better, Who's Best" (1988)

Who's Better, Who's Best (compilation)
release date: Mar. 1988
format: vinyl (gatefold - DNLP 1169)
[album rate: 4 / 5]
producer: various
label: Dino Music - nationality: England, UK

Best of compilation by The Who released in the UK by Polydor with the subtitle: "This Is the Very Best of The Who".

North American
cover

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 ]

Volbeat "Beyond Hell / Above Heaven" (2010)

Beyond Hell / Above Heaven
release date: Sep. 10, 2010
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Jacob Hansen
label: EMI - nationality: Denmark

Track highlights: 1. "The Mirror and the Ripper" - 2. "Heaven Nor Hell" - 4. "Fallen" - 5. "A Better Believer" - 13. "Thanks"

4th studio album by Volbeat follows one year after Guitar Gangsters & Cadillac Blood, is like all the band's previous albums produced by Jacob Hansen.

The line-up remains intact and the writing/composer-procedure continues with the same pattern with poulsen as only songwriter and composer of 9 out of 13 songs and as co-composer with other band members on 4 songs.
Again, the music is within narrow boundaries of primarily hard rock and as on the 2008 release, they succeed with a personal expression. They also explore the use of featuring artists as on their national monster-hit "A Garden's Tale" with Johan Olsen to much further extend. Henrik Hall of Love Shop features on track #2, Mille Petrozza of Kreator and Michael Denner of Mercyful Fate / King Diamond both feature on track #6, Jakob Øelund of Taggy Tones is featuring artist on track #8, and Mark 'Barney' Greenway of Napalm Death appears on track #11. The album is the band's final with guitarist Thomas Bredahl, who left the band in Nov. 2011.
I do recognize the band's contribution to the genre and their hard-headed determination. Still, the style is not really something I listen much to, and I still think many of their tracks sound too much alike. Compared to the predecessor that in some ways signaled a new way, they once again seem stuck with a matrix they think is the right combination to open the hidden safe box, which will let them have all the money and fame instead of making some new great music. Again, it's not entirely bad, it's just not something I would recommend because it's like the C and D-sides to an earlier album and I frankly think they are stuck in a bubble with no doors.
Not recommended.
[ allmusic.com 3,5 / 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 ]

Neil Young & Crazy Horse "Broken Arrow" (1996)

Broken Arrow
release date: Jul. 2, 1996
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Neil Young
label: Reprise Records - nationality: Canada

Track highlights: 1. "Big Time" - 2. "Loose Change" (3,5 / 5) - 3. "Slip Away" - 4. "Changing Highways" (3,5 / 5) - 5. "Scattered (Let's Think About Livin')"

23rd studio album by Neil Young released as Neil Young with Crazy Horse comes out in a productive time for Neil. His entry into the 90s has been one of his great periods starting with Ragged Glory (1990) and his, best live release, the 2 disc Weld from '91. This one is released only 5 months after his different, to put it mildly, soundtrack Dead Man, but more so it links with his previous albums with Crazy Horse in the sense that they play on with their feedback hard rock bluesy sound, although, this turns out as a more jam-fed set of songs where they just play on and on and on - much like some of the great tunes on Weld.
The album is not one of his critically acclaimed albums, and my 1990s verdict was much on par with that - I generally found it without much to offer except for electrified jam-sessions. However, I really have change my feelings quite a bit on this one. Thinking of Ragged Glory and Weld this basically seems more like a stream, or essence of those moments. Neil and Crazy Horse play so tight even when they just jam along. There's a kind of mutual understanding of how to mold the spirit they let loose when they first get started, and I find that one can almost touch that on this one. It's gentler than both of the two albums of the 90s, and it may not contain a bunch of classic Neil Young moments like "Pocahontas" or "Cortez the Killer", but songs like "Big Time", "Slip Away" and "Changing Highways" are fueled with the same energy.
I have come to really enjoy this one, and think of it as just another great 90s album by Neil Young, and if you have once rejected this, give it another chance or two. For me, it's a natural grower and one of my favourite Neil Young and Crazy Horse albums.
[ allmusic.com 2,5 / 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 ]

Terence Trent D'arby "Vibrator" (1995)

Vibrator
release date: Jun. 1, 1995
format: digital
[album rate: 2,5 / 5] [2,27]
producer: Terence Trent D'Arby
label: Columbia Records - nationality: USA

Track highlights: 3. "Holding on to You" (3,5 / 5) - 6. "We Don't Have That Much Time Together" - 8. "If You Go Before Me"

4th studio album by Terence Trent D'Arby continue its style from Symphony or Damn (1993), only it doesn't contain compositions on the same high level. It sounds and feels much like leftovers from his previous work. Together with Neither Fish Nor Flesh from '89, I find this his least interesting album, and the one that makes me think of Prince the most, and I'm not a fan of his. This is only just mediocre. This is one huge blend of styles: funk, soul , pop / rock, r&b, well even jazz is represented here making it fusion jazz rock. It seems he's almost trying to embrace all styles and genres, which can only lead to the style of... confusion [!].
[ allmusic.com 2,5 / 5, Select 1 / 5 stars ]

Terence Trent D'Arby "Symphony or Damn" (1993)

Symphony or Damn
release date: May 11, 1993
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Terence Trent D'Arby
label: Columbia Records - nationality: USA

Track highlights: 2. "She Kissed Me" (4,5 / 5) (live - live) - 3. "Do You Love Me Like You Say?" - 4. "Baby Let Me Share My Love" (4 / 5) - 5. "Delicate" (feat. Des'ree) (4 / 5) - 6. "Neon Messiah" - 7. "Penelope Please" - 12. "Are You Happy?" - 14. "I Still Love You"

3rd studio album by Terence Trent D'Arby is a fine return to form. The style is closer to his great debut album, but also has a more hard rock profile, which makes me think of Lenny Kravitz as a younger (and lesser gifted) admirer of his.
D'Arby's struggles with an image of being over-ambitious doesn't come easy with tracks #1-9 labelled "Part I - Confrontation", and tracks #10-16: "Part II - Reconciliation". However, once again D'Arby shows his great musical skills by being credited as musical arranger, for handling lead and background vocals, as instrumentalist playing bass, clavinet, drums, acoustic and electric guitars, keyboards, percussion, for making drum programming, horn and string arrangements, sound effects, AND for producing the album. Aside from that he has composed all music on the album. Yes, he is enormously gifted, and (sadly) he points to that himself, BUT this is a fine album almost parring his great debut. I didn't come across this album until after 2005, but it really doesn't sound like being produced in '93. It has a big and vivid sound, and considering the seemingly absent attention that was attributed the album, it surprises me how good it is. It's a recommended, almost essential r&b album of the 1990s.
[ allmusic.com 4,5 / 5 stars ]

Kings of Leon "Youth & Young Manhood" (2003)

Youth & Young Manhood [debut]
release date: Jul. 22, 2003
format: cd (HMD27)
[album rate: 3 / 5] [3,06]
producer: Ethan Johns
label: Handmedown Records / RCA Records - nationality: USA

Track highlights: 1. "Red Morning Light" - 2. "Happy Alone" - 3. "Wasted Time"

Studio album debut by Kings of Leon released on Handmedown and RCA. The genre is indie rock and garage rock revival in a special southern rock style pointing towards early Rolling Stones mixed with AC/DC, which also takes it to the harder end of the style.

I think, I first heard of the band when the songs "Ragoo" and "On Call" from their third album Because of the Times (2007) got some airplay on the national radio station DR P3 back in 2007, but I wasn't really hooked on their music until a year later with the album Only by the Night (2008) and especially tracks like "Sex on Fire" and "Revelry", which were played extensively on nationwide radio. After acquiring these two albums, I then got their latest Come Around Sundown (2010), which really made me change my mind about this band, as imho was the band's best. This subsequently made me check out their first two albums, as I was also curious about how they had initiated their career.

I have nothing against the various styles they manage to incorporate into their music on their later albums, but this first one is really far from that - and also far from my taste. It shows the band's early garage rock revival mix (which is style I enjoy) with southern rock, country rock, and hard rock ['ouch'] , and I can only say that the mixture leaves me rather unimpressed. Yes, they prove themselves as skilled instrumentalists, but that's also the only thing that shines through here.

Not recommended.

[ allmusic.com, Blender 3 / 5, Q Magazine, Rolling Stone 4 / 5 stars ]

Volbeat "Guitar Gangsters & Cadillac Blood" (2008)

Guitar Gangsters & Cadillac Blood
release date: Sep. 1, 2008
format: digital
[album rate: 3 / 5] [3,06]
producer: Jacob Hansen
label: Mascot Records - nationality: Denmark

Track highlights: 3. "Back to Prom" - 4. "Mary Ann's Place" - 6. "Maybellene i hofteholder"

3rd studio album by Volbeat following 1½ years after Rock the Rebel / Metal the Devil (Feb. 2007) is also the band's third with Jacob Hansen as producer. The album is the first to feature new guitarist Thomas Bredahl, who replaced Franz Gottschalk after the 2007-album.
Stylewise, it seems the band attempts to continue on a musical path laid-out by their most popular song from the predecessor "A Garden's Tale". It's no longer only blazing and simple heavy metal and rockabilly but a turn to more sophisticated compositions. And speaking of which, previously lead vocalist Michael Poulsen was credited all the band's songs but here he is only credited as sole songwriter and composer of five of the album's 14 songs. Seven are co-composed with mostly new guitarist Thomas and / or bassist Anders Kjølholm and drummer Jon Larsen. Two songs are old classic covers (tracks #11 by Hank Williams, and #14 by Jimmy Work).
The album is not bad, although, it's still rockabilly and heavy metal but here they have simply produced better material and turned down the pure metal grinding machine and added a few nice sing-a-long choruses here and there. It's pretty much like a rewind to the better follow-up to the debut album.
In my mind, this is the band's best album, but it's still not really recommended.

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 ]