THIN LIZZY: The 2nd Album

Original released on LP Decca TXS 108

(UK 1972, March 10)

Named after the musicians' previous bands (Bell's Shades of Blue and Lynott and Downey's Orphanage), the disappointing "Shades of a Blue Orphanage" proved that Decca Records had absolutely no idea of what to do with Thin Lizzy. The complex arrangements of the title track and "The Rise and Dear Demise of the Funky Nomadic Tribes" are as overblown and disjointed as their titles. "I Don't Want to Forget How to Jive" is a lame, '50s-style rockabilly number, and "Call the Police" is only saved by Lynott's captivating tell-tale lyrics - something at which he would later excel. Lynott is equally eloquent and personal on the piano-led "Sarah," written about his grandmother and not to be confused with the song by the same name written for his daughter seven years later. The album's few, truly bright moments are confined to the aggressive hard rock of "Baby Face" and the charming, descending riff of "Buffalo Gal," a melancholy, mid-paced ballad in the style which would become a Lynott trademark. (Eduardo Rivadavia in AllMusic)

The title comes from the two pre-Lizzy bands, Bell’s Shades of Blue and Brian Downey’s Orphanage. I’ve read complaints from the band about the short time they had to write/record, the newness of the studio’s equipment, and the lack of improvisational type of material compared with the debut. Even so, it’s a magical listen. It's clear they are finding their way, but that air of Irish folk-by-way-of-Hendrix is all over the record. It’s never clear what they’re going to do next. An impromptu drum solo? A furious, howling guitar jam? Lynott’s Introspective strumming? There are surprises at every turn. "Buffalo Gal" delivers all the odd quirkiness of the debut, it’s strange giddyap rhythm and sweet solo licks fading from speaker to speaker. A bed of feverishly-strummed guitars with a flamenco edge sets the backdrop for Lynott to croon his folkish account in "Chatting Today". "Call the Police" is a perfect Lynott concoction, sparse lyrics of murderous Miss Betty, another Johnny, and Thin Miss Lizzy who a-kept very busy over a jaunty backward-sounding riff.  Even the infamous two-minute rockabilly track "I Don’t Want to Forget How to Jive" slips by quickly, it’s reverby drum sound and echoey vocal odd and strangely appealing. It’s all about the delivery. So many bands of this time period cycle through prog, country, and psych looking for a foothold – usually a tedious affair. But in the hands of Downey, Bell and Lynott it spells instant classic. What some would call directionless comes across as pure charm and makes Shades a fantastic record. (in RateYourMusic)