THIN LIZZY: The Third Album

Original released on LP Decca SKL 5170

(UK, September 1973)

After achieving a reluctant Top Ten hit with a rock version of the traditional Irish pub ballad "Whiskey in the Jar," Thin Lizzy began work on "Vagabonds of the Western World" - their third, and ultimately last album for Decca Records. The single's surprise success gave the band bargaining power to demand more money and time to record, resulting in their first sonically satisfying album. The environmentally-conscious R&B of "Mama Nature Said" kicks things off with Eric Bell leading the way on slide guitar. The overblown "The Hero and the Madman" and the tepid "Slow Blues" threaten to derail the proceedings, but all is well again when the band break into their first bona fide classic "The Rocker." Brimming with attitude and dangerous swagger, Lynott sets the tone as drummer Brian Downey explodes into life for the first time on vinyl. Lizzy's Irish heritage permeates the title track, and the beautiful "Little Girl in Bloom" is absolutely flawless, featuring Lynott, the poet, in top form. In many ways, "Vagabonds" actually rocks harder than Lizzy's next album, the soulful "Night Life" - often considered the band's first "important" record. And with the inclusion of four non-LP singles, including the aforementioned "Whiskey in the Jar," this package becomes even more appealing. (Eduardo Rivadavia in AllMusic)

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)

THIN LIZZY Debut Album

Original released on LP Decca SKL 5082

(UK 1971, April 30)

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 in AllMusic)

Before locking-in with a wicked, tight twin-guitar assault and establishing their identity as a hard rock tour de force in the mid-seventies, Thin Lizzy initiated their run as a proud Irish trio steeped in folk influences. Featuring the imposing Philip Lynott on bass and vocals, along with drummer Brian Downey and guitarist Eric Bell, the young group first appeared on stage in April of 1970. The following year, after performing relentlessly, Thin Lizzy, armed with a Decca recording contract, entered West Hempstead Studios in England, to lay down the tracks for their self-titled debut LP. Working with producer Scott English, Lizzy was in-and-out of the studio in just over three days. The rushed recording sessions resulted in ten original songs that prominently display the young groups proud Irish roots and a folkish, story-telling charm. Released on April 30th, 1971, Lizzy's eponymously-titled album offers true, heartfelt Celtic flavor in "The Friendly Ranger at Clontarf Castle", the sobering "Erie", and the upbeat "Return of the Farmer's Son". The boys get into serious rocking form on "Look What the Wind Blew In", while the stoic Bell showcases the influence of legendary guitarist Jimi Hendrix on the rapid fire, funk 'n' rollin' "Ray-Gun". Lizzy's first, humble step in the wild world of rock 'n' roll was tentative, but illustrated maturity and feeling at the entry level. The group would up the ante with each studio LP throughout the seventies. (in RateYourMusic)