Izvajalec: Thin Lizzy
Založba: Vertigo Records
Izid: 1979
Black Rose is already the ninth Thin Lizzy album in a row, and it doubles as the last refuge for all fans of Lynott’s traditionally romantic odes to the woes of everyday life. With one difference! After Robertson’s departure, the Lizzy sound leans more and more on harder, punchier rhythms that, at first glance, don’t have much in common with the band’s “old” face. One name stands out above all: Gary Moore, who deserves the credit for all the overflowing, technically polished guitar work that gives Thin Lizzy an extra dose of energy. A bit of caution is in order, though, because experimenting with heavier musical patterns only works flawlessly when you really understand them. And that’s where Downey and Gorham unintentionally end up under the microscope. Old cats used to Robertson’s brash, stronger-willed playing, they often stand too far away from Moore’s otherwise brilliantly conceived musical solutions. In other words, without Robertson, Thin Lizzy are missing that real “nasty” vibe, which puts Lynott’s boys in a very awkward spot and turns them into prisoners between the old and the new Thin Lizzy image. Moore’s presence becomes welcome mainly when a kind of rivalry flares up between him and Gorham. Their relationship stays friendly, but it’s still a special kind of challenge for Scott. It’s a partnership you could hardly call dreamy, but as a taster it offers a more modern take on the hard rock approach, pushed close to the heavy metal scene that was developing fast at the time.
Phil Lynott is another story altogether. The romantic warrior once again fights it out with mighty creatures. And wins! His long list of righted wrongs now includes a sort of rock ode to his other great love, Ireland. There’s no shortage of parental-love motifs either, and least of all Phil’s trademark bass lines, which, as usual, grab you firmly by the throat from the opening Do Anything You Want To Do on. “Moore’s” Thin Lizzy have potential, no doubt about it. The opener, with its traditional Lizzy twin-guitar seduction, comes closest to the good old guitar duels. A great intro that fills the atmosphere with a special energy. It’s followed by the similarly flavored Toughest Street In Town, where Moore crawls out of the safe shelter of laying down chords for the first time and immediately bombards us with a barrage of wild runs. All nice and dandy, but this just isn’t Thin Lizzy. For the first time, you can really feel the lack of finesse, or rather of the stronger character that used to send chills down our spines in the old days. Of course, Moore just isn’t Robertson — who you like better, judge for yourselves.
Humor, passion and a lush imagination mark Lynott’s funk number S & M, which, apart from its fun lyrics, strongly reminiscent of Dancing In The Monlight, quickly falls into oblivion. Not even Gorham’s inventive guitar solo can save it from that fate. Waiting For An Alibi, on the other hand, is that much better — one of the last big Thin Lizzy hits, which, thanks to its catchiness, soon becomes the darling of every Lizzy fan. The song shows us Moore as a model student who politely leaves Scott plenty of room to maneuver. What’s more, his twin-guitar weaving around Scott’s melodic ideas stirs up nostalgia-laden feelings, which clearly testifies both to the guitarist’s devotion and to his full awareness of his place within the band.
Sarah is Lynott’s dedication to his daughter. The love and warmth, which, at least in this form, represent a new way for Phil to express himself, also speak of the singer’s unstable nature, which ultimately cost him his life. On one side a loving father, on the other a wild rocker who simply can’t resist the crazy rock-star life. The song, accompanied by Gorham’s acoustic guitar, comes across as a decent pop creation that would probably have found more room to breathe on one of Lynott’s two solo albums. A clear picture of Philip’s deeply divided personality comes from Got To Give It Up, which follows Sarah’s hymn of praise as if on cue and ruthlessly wipes out every trace of innocent love. It’s probably one of the better Thin Lizzy creations. Lines like “tell my mother, tell my father, that their fine young son didn’t get far” and “he tried but his spirit broke” speak for themselves. The dark side of Phil Lynott, still struggling with birth pains on Bad Reputation, is finally coming out after all these years. Still, let’s rather wrap up on a friendlier note. With Love, in its naivety, recalls the Fighting era, while on Roisin Dubh the closing of the album is dominated by yet another great love, this time love for Irish soil, history and the folk heritage of its people, from which Lynott has drawn creative inspiration from the very start. This epic seven-minute hodgepodge of traditional Celtic melodies and chants, with the brilliant playing of both guitarists, will surely squeeze a tear or two out of you. An unforgettable ending to a rather directionless album that finally earns its subtitle, A Rock Legend.
Line-up
Phil Lynott: vocals/guitar
Gary Moore: guitar
Scott Gorham: guitar
Brian Downey: drums
Production
Tony Visconti
Track list
1.Do Anything You Want To
2.Toughest Street In Town
3.S & M
4.Waiting For An Alibi
5.Sarah
6.Got To Give It Up
7.Get Out Of Here
8.With Love
9.Roisin Dubh (Black Rose) A Rock Legend
Trajanje albuma 44.17
