TRACKLIST

1. Thunder And Lightning [0:04:54.00] 2. This Is The One [0:04:04.00] 3. The Sun Goes Down [0:06:20.00] 4. The Holy War [0:05:12.37] 5. Cold Sweat [0:03:06.43] 6. Someday She Is Going To Hit Back [0:04:05.70] 7. Baby Please Don't Go [0:05:10.00] 8. Bad Habits [0:04:05.00] 9. Heart Attack [0:03:39.37]

Biography: by John Dougan
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 many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Bruce Springsteen, and virtually all of the Irish literary tradition. Also, as a black man, Lynott was an anomaly in the nearly all-white world of hard rock, and as such imbued much of his work with a sense of alienation; he was the outsider, the romantic guy from the other side of the tracks, a self-styled poet of the lovelorn and downtrodden. His sweeping vision and writerly impulses at times gave way to pretentious songs aspiring to clichéd notions of literary significance, but Lynott's limitless charisma made even the most misguided moments worth hearing.

After a few early records that hinted at the band's potential, Lizzy released Fighting in 1975, and the band (Lynott, guitarists Brian Robertson and Scott Gorham, and drummer Brian Downey) had molded itself into a pretty tight recording and performing unit. Lynott's thick, soulful vocals were the perfect vehicle for his tightly written melodic lines. Gorham and Robertson generally played lead lines in harmonic tandem, while Downey (a great drummer who had equal amounts of power and style) drove the engine. Lizzy's big break came with their next album, Jailbreak, and the record's first single, "The Boys Are Back in Town." A paean to the joys of working-class guys letting loose, the song resembled similar odes by Bruce Springsteen, with the exception of the Who-like power chords in the chorus. With the support of radio and every frat boy in America, "Boys" became a huge hit, enough of a hit as to ensure record contracts and media attention for the next decade ("Boys" is now used in beer advertising).

Never the toast of critics (the majority writing in the '70s hated hard rock and heavy metal), Lizzy toured relentlessly, building an unassailable reputation as a terrific live band, despite the lead guitar spot becoming a revolving door (Eric Bell, Gary Moore, Brian Robertson, Snowy White, and John Sykes all stood next to Scott Gorham). The records came fast and furious, and despite attempts to repeat the formula that worked like a charm with "Boys," Lynott began writing more ambitious songs and wrapping them up in vaguely articulated concept albums. The large fan base the band had built as a result of "Boys" turned into a smaller, yet still enthusiastic bunch of hard rockers. Adding insult to injury was the rise of punk rock, which Lynott vigorously supported, but made Lizzy look too traditional and too much like tired old rock stars.

By the mid-'80s, resembling the dinosaur that punk rock wanted to annihilate, Thin Lizzy called it a career. Lynott recorded solo records that more explicitly examined issues of class and race, published a now-out-of-print book of poetry, and sadly, became a victim of his longtime abuse of heroin, cocaine, and alcohol, dying in 1986 at age 35. Since the mega-popular alternative rock bands of the mid-'90s appropriated numerous musical messages from their '70s forebears, the work of Phil Lynott and Thin Lizzy will hopefully continue to be seen for the influential rock & roll it is.

In 1999, Thin Lizzy reunited with a lineup featuring guitarists Scott Gorman and John Sykes, and keyboardist Darren Wharton, which was rounded out by a journeyman rhythm section of bassist Marco Mendoza and drummer Tommy Aldridge. The quintet's ensuing European tour produced the live album One Night Only, which was released in the summer of 2000 to set the stage for a subsequent American concert tour.

Review: by Greg Prato
Thin Lizzy's final studio release, Thunder and Lightning, was their most consistent album since 1979's Black Rose. Guitarist John Sykes replaced Snowy White, and the new blood must have inspired Lynott and company to write some of their best compositions in years. Although a pop-metal production hinders the tracks, there's more of a harder edge present than on their last release, Renegade. While the title track served as the ensuing tour's raging opener, half-baked lyrics detailing a fistfight and an unwarranted synth-solo weakens what should have been a straight-ahead rocker. But such heavies as "This Is the One" and "Cold Sweat" suit the band much better. Lizzy takes a stab at dance-rock with "The Holy War," while laying back with the tranquil "The Sun Goes Down" and the album's underrated highlight, the melodic "Bad Habits." Like Lizzy's other '80s releases, filler is present - "Someday She Is Going to Hit Back" and "Heart Attack" and disappointingly, guitarist Scott Gorham abandons his trademark harmony leads of yesteryear in favor of '80s-era high-tech shredding. Not Lizzy's best release, but a definite improvement over their other '80s studio output.

SPOILER (EAC EAC)

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009 EAC extraction logfile from Thin Lizzy / Thunder And Lightning Used drive : HL-DT-STDVD-ROM DH16NS10 Adapter: 3 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 102 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000 Used output format : Internal WAV Routines Sample format : 44.100 Hz; 16 Bit; Stereo TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.33 | 4:54.00 | 33 | 22082 2 | 4:54.33 | 4:04.00 | 22083 | 40382 3 | 8:58.33 | 6:20.00 | 40383 | 68882 4 | 15:18.33 | 5:12.37 | 68883 | 92319 5 | 20:30.70 | 3:06.43 | 92320 | 106312 6 | 23:37.38 | 4:05.70 | 106313 | 124757 7 | 27:43.33 | 5:10.00 | 124758 | 148007 8 | 32:53.33 | 4:05.00 | 148008 | 166382 9 | 36:58.33 | 3:39.37 | 166383 | 182844 Range status and errors Selected range Filename Peak level 97.7 % Range quality 100.0 % Test CRC 13DC1EF4 Copy CRC 13DC1EF4 Copy OK No errors occurred AccurateRip summary Track 1 accurately ripped (confidence 5) [F672077D] Track 2 accurately ripped (confidence 5) [6DA34ECB] Track 3 accurately ripped (confidence 5) [A97BA2FE] Track 4 accurately ripped (confidence 5) [30F5C391] Track 5 accurately ripped (confidence 5) [BF6E5C52] Track 6 accurately ripped (confidence 5) [F9E4F46B] Track 7 accurately ripped (confidence 5) [DB6051D2] Track 8 accurately ripped (confidence 5) [8BC282A1] Track 9 accurately ripped (confidence 5) [1103C4E8] All tracks accurately ripped End of status report

SPOILER (Картинки)