Label: Vertigo Records (US), 822 687-2
Style: Hard Rock, Classic Rock
Country: Dublin, Ireland
Time: 35:42
Format: Flac Tracks 16/44,1 kHz
Size: 232 Mb
Lynott
and Robertson clashed over musical differences, such as the composition
of "Don't Believe a Word". When Lynott first played the song in a slow
12-bar blues format, Robertson claimed it was "shite", and Lynott
reacted badly, disappearing for a few days. Robertson then felt that he
may have been a little harsh, and he and drummer Brian Downey decided to
rework the song. Downey devised a faster shuffle rhythm and Robertson
wrote the riff, and Lynott was pleased with the outcome when he returned
to the studio. Robertson was annoyed when the song was credited solely
to Lynott, as he felt that all three members involved should have been
credited. The original bluesy arrangement was subsequently recorded by
Lynott and Gary Moore on Moore's Back on the Streets in 1978, and Thin
Lizzy versions later appeared on Thin Lizzy's 1983 double live album
Life and the deluxe edition of Thunder and Lightning.
Robertson also
co-wrote "Borderline" with Lynott, for which he did receive a writing
credit. He later revealed that the song was about a girlfriend: "I was
really in love, [but] she hated me. I was extremely down when I wrote
it." Alcock confirmed that Robertson had significant lyrical input on
this track, and that the band's other guitarist Scott Gorham had similar
influence on the lyrics for "Sweet Marie".
According to Robertson,
Lynott wrote "Rocky" with him in mind. John Alcock has stated that
"Massacre" was written in the studio. Its lyrics came after Lynott was
visited in hospital by a Protestant clergyman, and Catholic Lynott
became defensive. Later he regretted his reaction, and wrote the lyric
condemning religious prejudice.
"Fools Gold" was inspired by the
Great Famine of Ireland of 1845–52. The lyric imagines Irish people
travelling to America to escape the famine and start a new life.
The
album included two tracks with the name "Johnny" in their titles as well
as the album title itself, a character by that name having appeared in
earlier songs such as "Showdown" and "The Boys Are Back in Town". Gorham
noted the name's proliferation: "Phil should've been this guy's
publicity agent, as he was cropping up everywhere!"
"'Johnny the Fox
meets Jimmy the Weed' was really the only song that Lizzy did in a funk
style..." noted Scott Gorham. "Phil Lynott was a huge fan of the O'Jays
and their song "For the Love of Money". At every soundcheck, he'd be
playing that funky riff... Once we'd found that riff, we just went for
it. The whole thing really took off when Brian Downey sat down and put
his personal funk take on it with the drums... And these characters –
Johnny the Fox and Jimmy the Weed – they were real people. They were
from the Manchester area, where Phil's mom had her hotel... They were
part of a gang of cultured thieves... They weren't drug dealers, like it
says in the lyrics for the song... But they were pretty heavy guys, yet
they were real funny, so you couldn't help but like them."
(en.wikipedia.org/wiki/Johnny_the_Fox)
Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog.
D=digital. The first letter stands for how the music was recorded. The
second letter for how it was mixed. The third letter stands for the
format (all CD's will have D as the last letter).
01. Johnny (04:18)
02. Rocky (03:43)
03. Borderline (04:37)
04. Don't Believe A Word (02:18)
05. Fools Gold (03:53)
06. Johnny The Fox Meets Jimmy The Weed (03:36)
07. Old Flame (03:05)
08. Massacre (03:01)
09. Sweet Marie (04:00)
10. Boogie Woogie Dance (03:06)
No comments:
Post a Comment