OB1
Well-Known Member
Ah, that would be in my top ten. Forgot to mention it, which is bad as I have the full box set version.
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The Album Review Club - Week #145 - (page 1923) - Tellin' Stories - The Charlatans
- Thread starter RobMCFC
- Start date
Ah, that would be in my top ten. Forgot to mention it, which is bad as I have the full box set version.
OB1
Well-Known Member
Don't think so but it is very good and "No Woman, No Cry" from it is one of my favourite songs (top 100).Live and dangerous is a great album but Marleys 'live at the Lyceum' is without doubt the best ever.
One of my big disappointments was the UFO Live album.Just butting in to give the official best live album UFO s Strangers in the night
I had not heard any of their stuff until I got the Doctor Doctor Please Live single.
Loved that so got the Live lp and found it not to my taste.
Not all bad though.Swapped for Whitesnake..Live in the Heart of the City which was another live lp that I loved at the time.
Saw Whitesnake at Donnington with a brilliant performance one year as well.
AC/DC,Blue Oyster Cult,Slade and Blackfoot also on the bill that day.
Not listened to Whitesnake for years,will have to rectify that in the coming weeks.
Another group though that they were better live than in the studio.
I have a song for you that you may know Fog called You're the Voice sung by Oz's arguably greatest vocalist of the rock era John Farnham UK born of course albeit I have many more favourite singers above him his vocal range despite being a 30 a day on the cancer sticks for most of his life is something to behold with magical inflection and an absolute pro.I feel comfortable in saying no song in the history of humanity will ever utiliz(s)e bagpipes as effectively as the opener on that record.
Songwriters that contributed include Chris Thompson , Alan Parsons , Maggie Ryder , Keith Reid ( WTF ) and someone you might not know Andy Qunta of Icehouse fame.
Now after all these years I am still torn as to the greater impact albeit its brevity in YTV as opposed to Its a long way to the shop if you want as sausage roll as we always sung in the pubs of Melbourne.
I think you are right however I think its fair to say the bagpipes in rock have not been utilised as much as they could have been to date ( bloody tough instrument to master doesn't help ) but its never too late.
Your the Voice is an Australian Anthem and will no doubt be used by the Yes Campaign in the up coming referendum to have our First Nations People enshrined in our constitution later this year with permission of course.
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I had to read this more times than I have listened to the album to fully appreciate the review OB1.The Background
After my short, sweet interview of a laidback album, which proved that length doesn’t get you points, a bit like me fathering twins, it’s time to turn the volume back up and go long.
Unlike Rob, I do love a live album, especially a good double. Up to now, I have resisted reviewing one. In fact, live recordings represent my favourite albums by two of the bands I have reviewed thus far. Several bands made their names with double lives during its 1970’s heyday. The biggest seller of the type – Frampton Comes Alive – inspired the release of the album I have picked this time round, which also happens to be considered by many Classic Rock fans to be the finest example of its kind, although that’s not why I am reviewing it.
This album kind of picked itself. Just as I was finishing up my last review and thoughts were turning to what to write about next time round, the super deluxe edition of Live & Dangerous by Thin Lizzy arrived chez ob1. As I played my way through the eight discs, which feature the seven gigs that material was selected from for the album itself, I realised that I didn’t have a choice to make.
Obviously, I will not be asking anyone to listen to the eight disc version. That version does have some relevance though because, alongside the many accolades L&D has been showered with over the years, it also gained a bad reputation for not being truly live. Even Uber producer Tony Visconti has claimed as much. Guitarist Scott Gorham on the other hand tells an amusing tale about a mistake that he made in concert that lives on in the album’s grooves. Listening to the source material for the album makes it clear that Lizzy were on it night after night and in little need of studio assistance.
Lizzy were a superb live act and one of my favourite bands back in the 70’s. The incarnation of the band that appears on this record played some of the best gigs I ever attended. Phil and the boys were best enjoyed in concert. and the foursome featured here are the best version of the band.
Brian Downey was a kind of Irish Moon without the loon. The truly influential guitar duo of flame haired Scot Brian Robertson, with his incendiary playing, and the California cool of Scott Gorham had a twin harmony lead guitar sound that was considered unique at the time and helped to give the group such a distinctive sound.
The star of the show was charismatic band leader Phillip Lynott. Lynott was not your typical hard rock front man – a mixed race Irish bass playing vocalist who could write lyrics that conjure up the kind of romantic imagery normally reserved for the likes of Bruce Springsteen. Phil was simply one of the coolest kids on the block. He was in his element in front of a partisan crowd and could wrap an audience around his finger.
Heartbreakingly, Phil died young, largely for cliched rock n roll reasons. To this day, no rock star death continues to have the emotional punch of that of Phillip Lynott. This is how to remember him: Live & Dangerous.
The Review
Lizzy breakout one of their best riffs for opener, siren song Jailbreak.
Phil follows up with his famous Irish quip and the band march into Emerald propelled by Brian Downey’s thunderous drums. The song features the dual harmony guitar that Lizzy made famous. The guitar solos rip across the speakers while Phil weaves his bass in between them. A template for Big Country’s career?
Lizzy head Southbound for their next song, a gentler, melodic number with another great dual guitar hook.
The pace steps back up for a scorching riff driven cover of Bob Seger’s Rosalie that Lizzy make their own; especially with the inclusion of the Cowgirl’s Song mid-section, where you will want clap along.
Phil goes all James Jamerson as his bass line brings in the Motownesque Dancing in the Moonlight. This is one of two songs on this album that I adore beyond words, not least because Phil’s words perfectly capture the experience of being a teenager in love:
“When I passed you in the doorway
Well, you took me with a glance
I should've took that last bus home
But I asked you for a dance
Now we go steady to the pictures
I always get chocolate stains on my pants
And my father, he's going crazy
He says I'm livin' in a trance”
John Earle from the Graham Parker band adds some lovely sax and Scott Gorham contributes a wonderful spiralling, melodic solo.
A soupcon of feedback leads onto a change in mood with Massacre as Robbo’s urgent riffing introduces another killer track.
The mood changes again for the Blues ballad Still in Love with You, where Phil’s aching vocal and lyrics evoke the pain of love lost. The song is also notable for the magnificent guitar solos, the audience reaction to Robertson’s speaks for itself. The second from Gorham morphs into some twin lead work reminiscent of Felder & Walsh.
Lynott goes all hip-hop gangsta for the funk rock tale of drug dealers Johnny the Fox meets Jimmy the Weed.
The album’s high point arrives as Phil’s western imagery and another classic riff bring us the Cowboy Song, with the déjà vu moments of its wonderful mid-section, followed by the greatest segue in the history of rock ‘n’ roll and the Boys Are Back in Town, the other Lizzy song that I love beyond words, and I love the words:
“You know that chick that used to dance a lot
Every night she'd be on the floor, shakin' what she's got
Man, when I tell you she was cool, she was red-hot
I mean, she was steamin'”
Phil wasn’t just a poet: he was a painter.
Lynott, of course, would tell you: Don’t Believe a Word.
Warrior keeps the momentum going, as does the straight ahead Are You Ready.
The band go all Leiber and Stoller before they boogie their way through Suicide, which sounds much more uplifting than the song title would suggest.
Sha La La is another rapid-fire number that sounds like it should feature a drum solo, and Brian Downey duly obliges by briefly knocking seven bells out of his already well hammered kit.
By now it’s party time and Phil leads the band and audience into set closer Baby Drives Me Crazy. Some unknown dude from support band Clover adds Harmonica, jousting with messrs. Robertson and Gorham.
Finally, Lizzy encore with The What, a.k.a. The Rocker, which does what it says on the tin.
The greatest live album ever? Not quite for me, but right up there.
9.5/10 for the review only because of the hyphen missing in Mowtownesque ( only gagging ).
Lizzy's best IMO by some margin and not often my favourite album from a band is recorded live but the Phillie connection pleases me no end.
Saddleworth2
Well-Known Member
- Joined
- 27 Jan 2014
- Messages
- 21,651
You will enjoy my playlist then which is due very soon. :-)I like both those albums but another of my top ten live albums would be "On your Feet or on Your Knees".
Get out soon bimbo.I'd have Depeche Mode 101 as my favourite live album. Cheap Trick live at Budokan is the worst I've heard. Not because I don't like Cheap Trick but the screaming through the whole record is annoying. The mix is awful.
I've got live and dangerous, can't listen to it though as I'm hospital bound again. Bit of a bugger.
Saddleworth2
Well-Known Member
- Joined
- 27 Jan 2014
- Messages
- 21,651
That is one hell of a write up.The Background
After my short, sweet interview of a laidback album, which proved that length doesn’t get you points, a bit like me fathering twins, it’s time to turn the volume back up and go long.
Unlike Rob, I do love a live album, especially a good double. Up to now, I have resisted reviewing one. In fact, live recordings represent my favourite albums by two of the bands I have reviewed thus far. Several bands made their names with double lives during its 1970’s heyday. The biggest seller of the type – Frampton Comes Alive – inspired the release of the album I have picked this time round, which also happens to be considered by many Classic Rock fans to be the finest example of its kind, although that’s not why I am reviewing it.
This album kind of picked itself. Just as I was finishing up my last review and thoughts were turning to what to write about next time round, the super deluxe edition of Live & Dangerous by Thin Lizzy arrived chez ob1. As I played my way through the eight discs, which feature the seven gigs that material was selected from for the album itself, I realised that I didn’t have a choice to make.
Obviously, I will not be asking anyone to listen to the eight disc version. That version does have some relevance though because, alongside the many accolades L&D has been showered with over the years, it also gained a bad reputation for not being truly live. Even Uber producer Tony Visconti has claimed as much. Guitarist Scott Gorham on the other hand tells an amusing tale about a mistake that he made in concert that lives on in the album’s grooves. Listening to the source material for the album makes it clear that Lizzy were on it night after night and in little need of studio assistance.
Lizzy were a superb live act and one of my favourite bands back in the 70’s. The incarnation of the band that appears on this record played some of the best gigs I ever attended. Phil and the boys were best enjoyed in concert. and the foursome featured here are the best version of the band.
Brian Downey was a kind of Irish Moon without the loon. The truly influential guitar duo of flame haired Scot Brian Robertson, with his incendiary playing, and the California cool of Scott Gorham had a twin harmony lead guitar sound that was considered unique at the time and helped to give the group such a distinctive sound.
The star of the show was charismatic band leader Phillip Lynott. Lynott was not your typical hard rock front man – a mixed race Irish bass playing vocalist who could write lyrics that conjure up the kind of romantic imagery normally reserved for the likes of Bruce Springsteen. Phil was simply one of the coolest kids on the block. He was in his element in front of a partisan crowd and could wrap an audience around his finger.
Heartbreakingly, Phil died young, largely for cliched rock n roll reasons. To this day, no rock star death continues to have the emotional punch of that of Phillip Lynott. This is how to remember him: Live & Dangerous.
The Review
Lizzy breakout one of their best riffs for opener, siren song Jailbreak.
Phil follows up with his famous Irish quip and the band march into Emerald propelled by Brian Downey’s thunderous drums. The song features the dual harmony guitar that Lizzy made famous. The guitar solos rip across the speakers while Phil weaves his bass in between them. A template for Big Country’s career?
Lizzy head Southbound for their next song, a gentler, melodic number with another great dual guitar hook.
The pace steps back up for a scorching riff driven cover of Bob Seger’s Rosalie that Lizzy make their own; especially with the inclusion of the Cowgirl’s Song mid-section, where you will want clap along.
Phil goes all James Jamerson as his bass line brings in the Motownesque Dancing in the Moonlight. This is one of two songs on this album that I adore beyond words, not least because Phil’s words perfectly capture the experience of being a teenager in love:
“When I passed you in the doorway
Well, you took me with a glance
I should've took that last bus home
But I asked you for a dance
Now we go steady to the pictures
I always get chocolate stains on my pants
And my father, he's going crazy
He says I'm livin' in a trance”
John Earle from the Graham Parker band adds some lovely sax and Scott Gorham contributes a wonderful spiralling, melodic solo.
A soupcon of feedback leads onto a change in mood with Massacre as Robbo’s urgent riffing introduces another killer track.
The mood changes again for the Blues ballad Still in Love with You, where Phil’s aching vocal and lyrics evoke the pain of love lost. The song is also notable for the magnificent guitar solos, the audience reaction to Robertson’s speaks for itself. The second from Gorham morphs into some twin lead work reminiscent of Felder & Walsh.
Lynott goes all hip-hop gangsta for the funk rock tale of drug dealers Johnny the Fox meets Jimmy the Weed.
The album’s high point arrives as Phil’s western imagery and another classic riff bring us the Cowboy Song, with the déjà vu moments of its wonderful mid-section, followed by the greatest segue in the history of rock ‘n’ roll and the Boys Are Back in Town, the other Lizzy song that I love beyond words, and I love the words:
“You know that chick that used to dance a lot
Every night she'd be on the floor, shakin' what she's got
Man, when I tell you she was cool, she was red-hot
I mean, she was steamin'”
Phil wasn’t just a poet: he was a painter.
Lynott, of course, would tell you: Don’t Believe a Word.
Warrior keeps the momentum going, as does the straight ahead Are You Ready.
The band go all Leiber and Stoller before they boogie their way through Suicide, which sounds much more uplifting than the song title would suggest.
Sha La La is another rapid-fire number that sounds like it should feature a drum solo, and Brian Downey duly obliges by briefly knocking seven bells out of his already well hammered kit.
By now it’s party time and Phil leads the band and audience into set closer Baby Drives Me Crazy. Some unknown dude from support band Clover adds Harmonica, jousting with messrs. Robertson and Gorham.
Finally, Lizzy encore with The What, a.k.a. The Rocker, which does what it says on the tin.
The greatest live album ever? Not quite for me, but right up there.
I love a good live album and love twin leads so have always liked this. My upcoming play list which will be out soon features US bands live and feature twin leads quite a bit so hopefully there is stuff in it that you will like.
inevitably this will score very well. I could do it now but will give it a few listens to freshen my mind first.
To put a different spin on it Fog OB' has largely played it safe IMO as Van Halen and Kiss would have possibly surprised him a tad I would suggest unless he has actually put forward an album he has little time for.“It’s not a competition” says the fucker with the highest-scoring record and two in the top 5!! :) :) :)
I know TL’s hits and am especially partial to “Jailbreak” which is a long-time favo(u)rite song in general so I will look forward to this!
I am as mentioned previously impressed immensely not only by the knowledge and passion the both of you have and how well you articulate passion that which is part reason why this thread is so interesting to follow when I kidded to myself I have a modicum of all thing musicality. To date I think you have not strayed from your passion on consistent songs of high quality and emotion realization with the best being much nearer the not so.
I look forward to some of your dance albums and tracks to come or dare I say not as the case be.
OB1
Well-Known Member
Kind words.To put a different spin on it Fog OB' has largely played it safe IMO as Van Halen and Kiss would have possibly surprised him a tad I would suggest unless he has actually put forward an album he has little time for.
I am as mentioned previously impressed immensely not only by the knowledge and passion the both of you have and how well you articulate passion that which is part reason why this thread is so interesting to follow when I kidded to myself I have a modicum of all thing musicality. To date I think you have not strayed from your passion on consistent songs of high quality and emotion realization with the best being much nearer the not so.
I look forward to some of your dance albums and tracks to come or dare I say not as the case be.
I have simply picked favourtie studio albums by my most favoured artists to begin with. JJ Cale, much as I love his music was a bit of a diversion.
Not sure what I will go with next. Got three things in mind.