Artist: Thin Lizzy
Label: Vertigo Records
Release: 1974
Runtime: 37.11
Beginnings are always tough. The same goes for Thin Lizzy, who, after three unnoticed albums, step into a new era on the wings of two fresh recruits. With Gorham and Robertson on board, Lynott starts opening a new chapter in the Lizzy story, and we wouldn’t be wrong to say that with Night Life, instead of a second chapter, we’re getting a whole new book. Either way, an album that promised a lot at the start ends up handing Phil and Co. a slap in the face and, above all, a massive headache.
Night Life is supposed to put a new, fresher Lizzy lineup in front of us, determined to finally convince us that the old days are behind them. But are they really? Well, old habits don’t die that easily, and that goes for Night Life too. It’s not that Lynott lacks determination and vision. What hurts is the lukewarm approach of both guitarists, which says a lot about how lost they are in their new roles. Most of the burden falls on Phil himself, who, in his burning desire for success, of course burns out completely. The second big minus goes to the production, handled by the similarly lost Ron Nevison. In all this resulting circus, Lynott, without any help from the others, can’t save the watered-down, empty situation. Bright moments are few, and one of them is the wild hard rock number Sha – La – La, which with its uncompromising magic talks about rage and emotions buried deep under a thick layer of past disappointments. It’s Only Money belongs in the same category, probably the most underrated Thin Lizzy song of all. But neither of these two gems, nor Still In Love With You, a great ballad that sadly gets a far too limp performance, can fix the bad aftertaste left by the dull, totally apathetic atmosphere. The soft, mushy She Knows, which opens the album very timidly, and the utterly directionless blues of Night Life, which on top of that gets lost in ridiculously naive orchestral arrangements, both point to a pile of things Phil and Co. still have to learn. Silliness like Frankie Carroll really shouldn’t have earned a spot on an album by a band as serious as Thin Lizzy. How is anyone supposed to take the boys seriously when, right after boozy Frankie, we suddenly find ourselves in the middle of the goofy funk of Showdown? Nothing seems to come easy to them here, and even the chopped-up hard rock riffs, which are there just for show, sound artificial and very insincere. Sadly.
The peak of this mess is the instrumental Banshee, a truly bad idea whose meaning and message are probably a mystery even to Thin Lizzy themselves. Maybe that’s actually for the best. Philomena lifts our mood, dedicated to both Ireland and Phil’s mom, where we’re once again greeted by that typical Lizzy magic the album so chronically lacks. It was probably just too early for the boys after all. Dear Heart rudely reminds us of that uncomfortable fact, and since it’s the last song on the album, you really can’t tell whether you’re glad to hear it or not! I think most of you will be glad, just as all of us Thin Lizzy fans have to be grateful in the end for this transitional period, which seems indispensable for the further transformation of Phil and Co. into the rock & roll legends we all respect and will never forget.
Lineup
Phil Lynott: vocals/bass
Brian Robertson: guitar
Scott Gorham: guitar
Brian Downey: drums
Production
Ron Nevison & Phil Lynott
Tracklist
1.She Knows
2.Night Life
3.It’s Only Money
4.Still In Love With You
5.Frankie Carroll
6.Showdown
7.Banshee
8.Philomena
9.Sha – La – La
10.Dear Heart
