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MOJO runs down every studio and live album from hard rock\u2019s melodic street fighters.<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Thin-Lizzy-1978_Fin-CostelloRedferns_crop.jpg” title_text=”Photo of Phil LYNOTT and Brian ROBERTSON and THIN LIZZY” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Perhaps it was John Peel who described Phil Lynott best. Writing in the mid-\u201870s, he portrayed Thin Lizzy\u2019s leader as \u201cpart rakish lover, part football hooligan, part incurable romantic, part historic warrior\u201d, and added, with more characteristic understatement, \u201cHe has written some good songs.\u201d <\/p>\n
Philip Parris Lynott was everything Peel said he was and more. Ireland\u2019s only black rock\u2019n\u2019roll hero, Lynott was a uniquely complex character: a bad mo\u2019fo with a poetic flair, a street survivor with a self-destructive streak, a charmer and a brawler, a leather-clad rocker with a modernist sensibility.<\/p>\n
Born in 1949 in Birmingham, Lynott was raised in Dublin by his white Irish mother Philomena after she separated from his father Cecil Parris, a black American serviceman. As a mixed-race child with a single parent, Lynott quickly learned how to look after himself. As Thin Lizzy\u2019s Californian guitarist Scott Gorham later noted, \u201cHe was a fighting guy, Phil.\u201d His hard-man aura would inform many of Thin Lizzy\u2019s greatest songs, including the classic 1976 hit single The Boys Are Back In Town.<\/p>\n
Lynott formed the band in 1969, naming it after a cartoon character in The Dandy: Tin Lizzie, the Mechanical Maid (it was altered to \u2018Thin Lizzy\u2019 as a joke on the Dublin brogue). Originally a trio featuring lone guitarist Eric Bell, Thin Lizzy scored a UK hit in 1973 with a rock remake of the Irish traditional song Whiskey In The Jar, but it was with the twin-guitar harmonies of Gorham and Scotsman Brian Robertson that the band defined its sound.<\/p>\n
In the late \u201870s, Thin Lizzy became one of the world\u2019s premier hard rock acts, releasing the iconic albums that would inspire future stars such as Def Leppard, Metallica and Guns N\u2019 Roses. But by 1983 Lizzy\u2019s popularity was waning, and Lynott split the band. Many, including Scott Gorham, believed Lynott always intended to reform Thin Lizzy at some stage, but on January 4, 1986, the effects of prolonged drug addiction led to Lynott\u2019s death from multiple organ failure at the age of 36. 40 years on, a bronze statue of Phil Lynott stands in Dublin. A monument to a rock legend. In tribute to Lynott, MOJO\u2019s Paul Elliott runs down every album he recorded with Thin Lizzy\u2026<\/p>\n
[\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Shades-Of-A-Blue-Orphanage.jpg” title_text=”Shades Of A Blue Orphanage” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
14. Shades Of A Blue Orphanage <\/b>(DECCA, 1972)
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The second Thin Lizzy album was named in memory of the three musicians\u2019 previous bands \u2013 Phil Lynott and Brian Downey\u2019s Orphanage, Eric Bell\u2019s Shades Of A Blue. This might also have been the final Lizzy album, had Lynott been lured away by Deep Purple guitarist Ritchie Blackmore to form a supergroup with Free singer Paul Rodgers. The mooted name of that supergroup, Baby Face, was the title of a driving rock track that pointed to Lizzy\u2019s future, but elsewhere on this varied album there was gentle balladry in Sarah (not to be confused with an entirely different song from 1979\u2019s Black Rose LP) and muscular funk in The Rise And Dear Demise Of The Funky Nomadic Tribes.<\/p>\n
Key track:<\/strong> The Rise And Dear Demise Of The Funky Nomadic Tribes\u00a0<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Thin-Lizzy.jpg” title_text=”Thin Lizzy” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 13. Thin Lizzy <\/b>(DECCA, 1971)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n This was not the best of starts. Unlike those classic hard rock debuts that came before and after \u2013 the ground-breakers and multi-million-sellers by Led Zeppelin, Van Halen, Guns N\u2019 Roses and more \u2013 Thin Lizzy\u2019s first album lacked focus. It also lacked punch. Eric Bell had one explanation as to why. \u201cWe all smoked a lot of dope,\u201d the guitarist recalled. \u201cWe were totally bombed for the duration of that record.\u201d With echoes of Hendrix, flavours of folk music and some complex arrangements described by Brian Downey as \u201calmost bordering on jazz\u201d, it was a pretty weird trip.<\/p>\n Key track:<\/strong> Return Of The Farmer\u2019s Son<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Vagbonds-Of-The-Western-World.jpg” title_text=”Vagbonds Of The Western World” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 12. Vagabonds Of The Western World <\/b>(DECCA, 1973)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Initially, the three members of Thin Lizzy had laughed at the idea of covering the Irish folk song Whiskey In The Jar. In 1973, when their version topped the Irish charts and made the UK top 10, pop stardom was not to Eric Bell\u2019s liking. Frazzled by a combination of workload and lifestyle, the guitarist freaked out during a New Year\u2019s Eve gig and quit before he was fired, leaving behind Vagabonds Of The Western World as his last album with the band. The Rocker signalled a new emphasis on high-powered riffage. The maturity in Lynott\u2019s songwriting was evident in Little Girl In Bloom and A Song For While I\u2019m Away.<\/p>\n Key track:<\/strong> The Rocker<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Life.jpg” title_text=”Life” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 11.<\/b> Life <\/strong>(Vertigo, 1983)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n The live album culled from Lizzy\u2019s farewell tour in 1983 was no match for the band\u2019s 1978 classic Live And Dangerous. Even so, Life retains a certain poignancy, especially in those moments when Lynott was digging deep \u2013 singing Renegade with raw emotion. A few tracks featured on Live And Dangerous were also included on Life \u2013 undroppable crowd-pleasers such as Jailbreak and The Boys Are Back In Town. Three tracks recorded with guitarist Snowy White actually dated from 1981. But the album\u2019s climax has the encores from Hammersmith Odeon shows in March 1983, with the final Lizzy line-up joined by three of their former guitarists \u2013 Bell, Moore and Robertson \u2013 to bow out in raucous fashion.<\/p>\n Key track:<\/strong> Black Rose<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Nightlife.jpg” title_text=”Nightlife” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 10. Nightlife <\/b>(Vertigo, 1974)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n On Lizzy\u2019s first album with guitarists Scott Gorham and Brian Robertson, the standout guitar solo came from Gary Moore. After Eric Bell\u2019s departure, Moore had joined the band for a brief period in which they recorded the song Still In Love With You, a beautiful ballad that also featured a cameo from Scottish soul singer Frankie Miller. There were other fine songs on Nightlife, notably the bluesy title track and the coolly-delivered opening number She Knows. Scott Gorham, however, felt that producer Ron Nevison had played it too safe, smoothing off the rough edges. \u201cI thought the record was so ridiculously tame it was unbelievable.\u201d Gorham later griped. With the next album, Fighting, the gloves came off.<\/p>\n Key track<\/strong>: Still In Love With You<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Thunder-And-Lightening.jpg” title_text=”Thunder And Lightening” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 9.<\/b> Thunder And Lightning<\/strong> (Vertigo, 1983) [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n It wasn\u2019t supposed to end like this. With a young, flashy new guitarist in John Sykes (recruited from North-east band Tygers Of Pan Tang), Thin Lizzy sounded like a band reborn on Thunder And Lightning, by far their heaviest album, its belligerent mood set by a frantic title track and the menacing single Cold Sweat. But when concert dates sold slowly, Lynott announced that the band was splitting. There would be no way back. Lizzy\u2019s farewell UK gig was at the Reading Festival in August 1983. This album\u2019s melancholy ballad, The Sun Goes Down, proved an apposite final single.<\/p>\n Key track:<\/strong> Cold Sweat<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Renegade.jpg” title_text=”Renegade” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 8. Renegade <\/b>(Vertigo, 1981)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n An overlooked album, Renegade was another first for Thin Lizzy, as young keyboard player Darren Wharton was embraced as an official band member. It was Wharton\u2019s atmospheric riff that began the album\u2019s doomy opening track Angel Of Death, while a lighter touch was displayed on the swinging Fats and the cinematic Mexican Blood. On what proved to be Snowy White\u2019s final album with the band, he co-wrote the title track with Lynott, whose lyrics were in part inspired by Albert Camus\u2019s The Rebel. It was one of the last great Thin Lizzy songs \u2013 as was the album\u2019s only single, Hollywood (Down On Your Luck).<\/p>\n Key track:<\/strong> Renegade<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Chinatown.jpg” title_text=”Chinatown” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 7. Chinatown <\/b>(Vertigo, 1980)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n After Gary Moore exited Thin Lizzy in the middle of a US tour in 1979, Ultravox\u2019s Midge Ure acted as temporary replacement before Terence \u2018Snowy\u2019 White took the job full-time. Having played second lead to David Gilmour when Pink Floyd toured The Wall, White gelled immediately with Scott Gorham. Lizzy\u2019s twin-guitar attack was as potent as ever on Chinatown\u2019s electrifying title track and Killer On The Loose, the latter a Top 10 hit despite Lynott\u2019s defiantly disturbing lyrics. However, with Lynott now heavily into what he called \u201cFleetwood\u201d (Mac: smack), it was on this album that his quality control began to slip.<\/p>\n Key track:<\/strong> Chinatown<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Fighting.jpg” title_text=”Fighting” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n 6. Fighting <\/b>(Vertigo, 1975) [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n When 1974\u2019s Night Life album flopped, Lizzy blamed producer Ron Nevison. Scott Gorham thought Nevison\u2019s mix was so lightweight that he wondered, \u201cAre we a rock band or a cocktail band?\u201d The answer came with the follow-up, produced by Lynott, and provocatively titled Fighting. The band posed on the cover as tooled-up heavies to convey the muscle of street-tough songs such as Ballad Of A Hard Man and Suicide. More poetically, Lynott drew on his Irish heritage on the elegiac Wild One, and honoured a troubled Irish hero and kindred spirit, George Best, on For Those Who Love To Live. And his charisma made a cover of Bob Seger\u2019s song Rosalie into a Thin Lizzy anthem.<\/p>\n Key track:<\/strong> Rosalie\u00a0<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Bad-Reputation.jpg” title_text=”Bad Reputation” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n 5. Bad Reputation <\/b>(Vertigo, 1977)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n By 1977, Brian Robertson\u2019s taste for drinking and fighting had become a problem even for a band as debauched as Thin Lizzy. After Lynott fired Robertson, Lizzy recorded Bad Reputation as a trio, with Scott Gorham playing all guitars: the signature lead har-monies on Southbound, the deft funk licks on the finger-clicking Dancing In The Moonlight (It\u2019s Caught Me In Its Spotlight), and the heavy staccato riff of the title track. At Gorham\u2019s request, Robertson was reinstated in time to play on three tracks, including the sinister Opium Trail. But by July \u201878 Robbo was gone for good. As Bad Reputation proved, Thin Lizzy could live without him.<\/p>\n Key track:<\/strong> Dancing In The Moonlight (It\u2019s Caught Me In Its Spotlight)<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Johnny-The-Fox.jpg” title_text=”Johnny The Fox” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n 4.<\/b> Johnny The Fox<\/strong> (Vertigo, 1976)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n Lizzy\u2019s second great album of 1976, released just seven months after Jailbreak, was partly a result of an enforced lay-off. Having contracted hepatitis on a US tour, Lynott was recuperating in a Manchester hospital when he wrote many of the songs for Johnny The Fox. The last studio album to fully feature the classic Brian Robertson line-up, it produced another hit in Don\u2019t Believe A Word, a blistering rocker and a warning to Lynott\u2019s many future conquests. Johnny The Fox Meets Jimmy The Weed, with its snapping drum rolls and slinky blaxploitation-style riff, would later be sampled on hip hop records.<\/p>\n Key track:<\/strong> Don\u2019t Believe A Word\u00a0<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Jailbreak.jpg” title_text=”Jailbreak” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n 3.<\/b> Jailbreak<\/strong> (Vertigo, 1976)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n After two poor-selling albums for Vertigo, Thin Lizzy desperately needed a hit. It came by surprise, with a song that almost missed the cut for the Jailbreak album. As Scott Gorham recalled, \u201cWe were touring America and our management said The Boys Are Back In Town was bustin\u2019 out of the Midwest.\u201d Hitting Number 12 in America and Number 8 in the UK, it was a Friday night anthem that, in Lynott\u2019s words, \u201cevery street gang in the world can relate to\u201d. The album\u2019s menacing title track, and the outlaw tales of Warriors and Emerald, confirmed Lizzy\u2019s reputation as rock\u2019s meanest young gunslingers.<\/p>\n Key track:<\/strong> The Boys Are Back In Town<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Black-Rose.jpg” title_text=”Black Rose” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n 2.<\/b> Black Rose<\/strong>\u00a0<\/b>(Vertigo, 1979)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n Gary Moore had played with Thin Lizzy, off and on, since 1974, but it was on Black Rose that the Belfast-born guitarist truly put his stamp on the band, an inspired choice as replacement for Brian Robertson. Both Moore and Lynott were working on solo records between Black Rose sessions (Moore\u2019s Back On The Streets would produce the Lynott-fronted hit Parisienne Walkways), but their best songs were reserved for the Lizzy album, notably the Irish folk-themed epic Roisin Dubh (Black Rose), A Rock Legend and the stinging Waiting For An Alibi. Tellingly, Lynott\u2019s drug binges led Moore to quit Lizzy in July \u201879.<\/p>\n Key track:<\/strong> Waiting For An Alibi<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2026\/01\/Live-And-Dangerous.jpg” title_text=”Live And Dangerous” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n 1. Live And Dangerous <\/b>(Vertigo, 1978)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n Famously eulogised by Nick Kent as \u201can album made by heroes\u201d, Live And Dangerous is arguably the greatest live rock album ever made. It was recorded at London\u2019s Hammersmith Odeon in November 1976, with additional material from Toronto and Philadelphia in \u201877. All of the key songs from the Gorham\/Robertson era are featured, the two guitarists trading stunning solos on the emotionally charged Still In Love With You. Despite allegations of heavy overdubbing, Live And Dangerous was the first true representation of Thin Lizzy\u2019s power. In Britain, only the Grease soundtrack kept it off Number 1. [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" MOJO runs down every studio and live album from hard rock\u2019s melodic street fighters.<\/p>\n","protected":false},"author":13,"featured_media":3733,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-3721","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mojo-presents"],"acf":[],"modified_by":"akindell","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3721","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/comments?post=3721"}],"version-history":[{"count":4,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3721\/revisions"}],"predecessor-version":[{"id":3744,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3721\/revisions\/3744"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media\/3733"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media?parent=3721"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/categories?post=3721"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/tags?post=3721"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/strong><\/p>\n
<\/b><\/p>\n
\u00a0<\/strong>
Key track:<\/strong> Jailbreak<\/p>\n