Live and Dangerous

Product Information

Recording [ edit ] Thin Lizzy live on the Bad Reputation tour in 1977, during which concerts at Philadelphia and Toronto were recorded for the album. In 2009, the live album Still Dangerous was released, which features material from the 20 October 1977 gig at Philadelphia that was used for some of Live and Dangerous. Live and Dangerous by Thin Lizzy is one of those classic live albums from the 1970’s that always gets featured in those top live albums of all time lists.

Stuart Bailie in his review for Classic Rock magazine praised the quality of the music and played down rumours of studio overdubbing. However, Visconti had a very tight schedule and had committed to producing albums for other artists, so Lynott suggested they instead spend two weeks together compiling a live album. The album's sleeve notes credit two concerts as its source: Hammersmith Odeon, London, England on 14 November 1976 (part of the tour for Johnny the Fox, released earlier that year), and Seneca College Fieldhouse, Don Mills, Toronto, Ontario, Canada on 28 October 1977 (part of the tour for Bad Reputation).According to Visconti, the album was "75% recorded in the studio" with only the drums and audience noise remaining from the original live recordings. Except for a few tracks, the majority of the material spans from 1974's Nightlife to 1977's Bad Reputation , while the concerts were recorded during Thin Lizzy 's last two major tours (1976 and 1977). The twin guitar attack of Brian Robertson and Scott Gorham, the rhythmic prowess of Brian Downey, and the lyrical genius of Phil Lynott make Thin Lizzy a band to treasure. However, one revelation included in the booklet, that I didn’t know previously concerns Southbound‘s inclusion on the live album. One thought that really stuck with me throughout this box set was that it documents a great band, at the absolute height of their powers.

The band and producer Tony Visconti could have released a brilliant Live And Dangerous a year earlier using only Hammersmith recordings (the third night’s disc is mind-blowing), but that would have meant a document without Southbound, Dancing In The Moonlight and Are You Ready (from the Rainbow).However, manager Chris O'Donnell said the album was 75% live, with overdubs restricted to backing vocals and a few guitar solos to "clean the sound up". The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Using modern technology we have endeavoured to correct and amend any flaws on the original analogue tapes where possible, and present as complete a series of shows from Thin Lizzy's Live And Dangerous era. For sheer sensory excitement, though, the opening power chords of Lizzy’s take on Bob Seger’s Rosalie take some beating, and the inherent spunk of Brian Robertson’s playing is manifest on four different instances of his extraordinary wah-wah solo on Don’t Believe A Word.