Frampton’s record (or Kiss’s Alive!) for that matter were just as doctored.īut you know what? Deep Purple’s Made un Japan and Allman Brothers Band At Fillmore East were not. It’s been well documented by Tony Visconti and the band that about 25% of the record benefits from studio wizardry. Maxwell Martello: I’d give this one a 9/10. But so far, they've yet to give us an album upon which future rockers will build. These guys have their roots down cold, and have embroidered them with a neat, guitar-toting street-gang image. But the holding pattern that Thin Lizzy established with Jailbreak is indicative of the stylistic problems inherent in many solid but unarguably derivative rock groups. Live and Dangerous works as a cogent commercial vehicle by avoiding filler, not because anything significant has been added. But it is the best Thin Lizzy album, and that’s no bad thing. Is it the greatest live album of all time? No. Hell, even it’s laugh-out-loud funny cover is iconic. Indeed, for some, Live and Dangerous may be the only Thin Lizzy album they’ll ever need. While multiple Best Ofs have been compiled over the years to try and capture Thin Lizzy’s appeal for newcomers, none have ever done the job better than Live and Dangerous. But even if there was some tweaking in the studio, Live and Dangerous feels live, containing more energy and power than the original LPs, which were already dynamic in their own right. Released in 1978, just as the hot streak starting with 1975's Fighting and running through 1977's Bad Reputation came to an end, Live and Dangerous was a glorious way to celebrate Thin Lizzy's glory days and one of the best double live LPs of the 70s. The Boomtown Rats - A Tonic for the Troopsĭead Boys - We Have Come for Your Children What they said. You can’t see it on the record, but you can hear the fun, feel the crackle."īruce Springsteen - Darkness on the Edge of Townĭerringer - If I Weren't So Romantic I'd Shoot You
Thin lizzy best album tv#
There must have been 50 people hanging out on either side of the stage, everyone from George Best to various girls, TV celebs, groupies and drug dealers, all spilling on to the stage at various moments.
Best of all, it conveys the sense – palpable at the shows – of what those guys were really like to be in the same room with.
"It does what all truly great live albums do: delivers even better performances of stone-cold studio classics. "Although producer Tony Visconti later claimed that 75 per cent of Live And Dangerous was recreated after the fact in the studio," wrote journalist Mick Wall, "as someone who was at one of the shows I can assure you that the album is an accurate representation of the classic line-up at the peak of their powers. Recorded at London’s Hammersmith Odeon in November 1976, with additional material from gigs in Toronto and Philadelphia in ’77, Live And Dangerous featured the quintessential Thin Lizzy line-up: Lynott on bass and vocals, Scott Gorham and Brian Robertson lead guitars, and Brian Downey on drums. Lynott believed that what worked for Frampton could work for them. While Lizzy were on tour in America in the summer of ’76, all they ever heard on the radio was Peter fucking Frampton. It was the success of Peter Frampton’s Frampton Comes Alive! that spurred Thin Lizzy to make a live record of their own.
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