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Jailbreak

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Album Review

Thin Lizzy found their trademark twin-guitar sound on 1975's Fighting, but it was on its 1976 successor, Jailbreak, where the band truly took flight. Unlike the leap between Night Life and Fighting, there is not a great distance between Jailbreak and its predecessor. If anything, the album was more of a culmination of everything that came before, as Phil Lynott hit a peak as a songwriter just as guitarists Scott Gorham and Brian Robertson pioneered an intertwined, dual-lead guitar interplay that was one of the most distinctive sounds of '70s rock, and one of the most influential. Lynott no longer let Gorham and Robertson contribute individual songs — they co-wrote, but had no individual credits — which helps tighten up the album, giving it a cohesive personality, namely Lynott's rough rebel with a heart of a poet. Lynott loves turning the commonplace into legend — or bringing myth into the modern world, as he does on "Cowboy Song" or, to a lesser extent, "Romeo and the Lonely Girl" — and this myth-making is married to an exceptional eye for details; when the boys are back in town, they don't just come back to a local bar, they're down at Dino's, picking up girls and driving the old men crazy. This gives his lovingly florid songs, crammed with specifics and overflowing with life, a universality that's hammered home by the vicious, primal, and precise attack of the band. Thin Lizzy is tough as rhino skin and as brutal as bandits, but it's leavened by Lynott's light touch as a singer, which is almost seductive in its croon. This gives Jailbreak a dimension of richness that sustains, but there's such kinetic energy to the band that it still sounds immediate no matter how many times it's played. Either one would make it a classic, but both qualities in one record makes it a truly exceptional album.

Customer Reviews

Holy dueling lead guitars!

You have heard the Boys Are Back In Town and maybe Jailbreak on the radio, but you really need to hear The Cowboy Song, Warrior and Emerald to appreciate this version of Thin Lizzy. This is actually version 2 of the band and the second album they made. They come out of the gates with frets are firing and the guitar interplay between Brian Robertson and Scott Gorham is absolutely stunning. The soaring crescendo building through the solos on Emerald may be one of the finest intertwined pieces of Strat versus Gibson work ever put to tape. The focal point of the band, Phil Lynott, weaves many a fine story and here is beginning to hit his stride. Lynott's bass play combined with Brian Downey's exquisite drumming provide a volatile launch pad from which Gorham and Robertson ascend. This album is truly classic material for hard rock fans of the 70's. RIP Phil, great work here.

sweet

what abot emerald?...mastodon made an AWESOME cover of that

Powerful!

Excellent Album... Definitely Thin Lizzy's best. You gotta love "Jailbreak," "Cowboy Song" and of course, "The Boys Are Back in Town." I've never heard any guitars that sound as good as Thin Lizzy's!

Biography

Formed: 1970 in Dublin, Ireland

Genre: Rock

Years Active: '70s, '80s, '90s, '00s, '10s

Despite a huge hit single in the mid-'70s ("The Boys Are Back in Town") and becoming a popular act with hard rock/heavy metal fans, Thin Lizzy are still, in the pantheon of '70s rock bands, underappreciated. Formed in the late '60s by Irish singer/songwriter/bassist Phil Lynott, Lizzy, though not the first band to do so, combined romanticized working-class sentiments with their ferocious, twin-lead guitar attack. As the band's creative force, Lynott was a more insightful and intelligent writer than...
Full bio