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Album Review: Thin Lizzy – Acoustic Sessions

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Review by Phil Rozier for MPM

Music reviews. They’re an odd concept. As is any kind of review of artistic work, right? Let’s just pause before we get into the weeds here. Art, is by it’s very nature, artistic (the clues in the title if you were unaware).

Is there such a thing as universally admired art? Is there something that everyone who witnesses, feels, or hears, falls instantly in love with that said something? Well, I’m 45 years old, and I’ve never met anyone who doesn’t like chips. Have you? Has anyone ever said, once offered a French Fry, or crispy thrice cooked chip, ‘no thanks, they’re not my bag, but if you have any lettuce, now you’re talking my language’?

I don’t think so. But that’s just the point, just because I’ve not experienced it, doesn’t mean it hasn’t happened. So combine the humility of accepting the unknown, and add a touch of subjectivity around artwork (I’m now talking music, not deep fried potatoes with added salt), the idea of a review, of someone’s musical efforts, is, well… potentially slightly flawed before it has begun. Who cares what I write about it? The artist? Unlikely… especially in this case, where we have heritage work, written before I was born, in an era I can only read about, where sadly, some of the artists involved in the design behind the musical formula have passed over to the other side.

Is it you, the readers of this review? The readers, listeners, and lovers of rock music? Unlikely – because the very fact you are into rock music, means you are probably already on the path to righteousness, free thought, unrestricted punk attitude and a desire to be free thinking and separated from cultural expectations and societal norms. Up the Irons!!!

Sorry, I got carried away there. Let me just grab a mouthful of tea. Builders tea this evening, nothing as delicate as a herbal infusion to inspire creative writing.

Why the sermon and vague attempt at educating the masses? Don’t worry, it isn’t an indoctrinated conversion to a cult shinning through, but one of wishing to set the scene. Thin Lizzy’s new release, the Acoustic Sessions, has had it’s fair share of media interruption already. Where by music fans, journalists, PR, managers, artists, peers and who ever else wants to add an opinion, probably already has. And in this instance, I’m barely going to acknowledge it.

I get it. Record labels, and founding artists, have supported the release of some historical works. They’ve taken some original recordings, that inspired memories for them I’m sure, and have opted to rerecord parts, and mix with historical tapes, to create a new release for 2025. I think my opinion, and perhaps your opinion, is irrelevant at this stage, on the why’s and wherefore’s of how the album came about. So I’m just going to put on the vinyl, sit back with my tea, and give it a whirl.

So, crank that Marshall, put on your aviators, and let’s rock! Cold Sweat, The Boys are Back in Town, here we come!!!!

Gulp. As the tea is swallowed. What?!

My ears are greeted with ‘Mama Nature Said’. A beautifully sounding acoustic guitar and raw vocal. Cleanly recorded, with a touch of gravel to the voice. It isn’t Cold Sweat, but then it isn’t suppose to be. This was written pre that era. Pre that knowledge. Pre the existence of relevant influence. This music, was garage music, even bedroom music, written and played by friends who enjoyed the freedom of early days music creation. This track says it all – ‘free from persecution’ and the track fades away as gently as it arrived.

‘A Song for While I’m Away’ – The Beatles just called, they want their track back. More vocals, this time double tracked I assume. Sung cleanly over the acoustic, the keys and various strings. I should have started this review earlier in the day, as right now, the gentle melody is sending me to sleep. It’s hugely relaxing, and so well designed as a song. But equally as unexpected. I’m still hear, slipping into my sofa cushions, trying to convince myself this is Thin Lizzy.

It doesn’t take long and we’re into ‘Eire’. More acoustic tracking. I should have known. The album title doesn’t lie to the listener. I’ve climbed up out of the sofa now, to try and give this track the listening ear it requires. Whilst born out of Irish culture, with inspirations of folk structured music, I can’t help but hear the ‘Ecstasy of Gold’ from an old Western being played out. It’s captivating, and the acoustic soloing from Bell is quite something. Not inspiring me to raise the single handed devil horns, but it is creating a sense of peace, calm, and intrigue as to what is next on the album tracklist.

‘Slow Blues’ – I might as well now be on the high street of an old western town. Orange sand, a gentle breeze whipping up the dust, as I stare down my opponent as our trigger fingers twitch in the sun light. A small audience is building, as the local coroner measures up the coffin for the loser. Disturbing my rather morbid yet naturally conjured up image, is the burst of electric guitar splitting the peace. This track is awesome! Keep your ears open for this, it has to be added to a Tarantino film for sure. It was made for and epic movie without doubt. If no one is already doing it, I’d want to make a film just so I can use this track in the soundtrack. Any takers out there?!

‘Dublin’ is track 5. Well, I have been there. But I’m not sure that qualifies me to be able to relate to the track. It’s history, meaning and clear emotion associated to the times and feelings of the creators are not held back as the track slowly trickles to a close of side one. Not often that just a guitar and a voice can keep you entertained for this long.

So, we flip the disc, drop the stylus, and we’re cracking on with ‘Whisky in the Jar’. It’s clearly a crowd pleaser, and the most well known track on the album… if you’re not a Thin Lizzy fan (see what I did there, true fans? Don’t worry, I’ve got your back!). To be fair, it’s a great version. Upbeat, has percussion, guitars, vocals and appears more complete than some of the previous songs on the album. By comparison, the other songs had a touch of demo stage about them, where as this track is full on full band assault. Still acoustic, and still different, but, definitely more polished.

We race into track 7, ‘Here I go Again’. We revert back to the acoustic guitar, and that soft gravelly voice continues to keep the pace. With a traditional punctuated guitar strum balanced with brief pauses, the track maintains attention, and has that typical ‘pub open mic’ feel. That’s not to belittle the track, its to compliment where it would sound the best.

The penultimate track, ‘Shades of a Blue Orphanage’ opens with the classic ‘2, 3, 4’ vocal timing, and Lynotts voice sounds as clear this evening as it did when the song was first laid down. Another softer, deeper and more meaningful track. Sparking emotions of the artists who wrote this music with heartfelt feeling. So far into the album, it’s clear that Thin Lizzy had more emotional content and range to their talents that few would have ever experienced before this release.

Finishing with ‘Remembering Pt 2’, I’m left freshly educated and open minded to how artists can evolve, or even more simply, choose how they want to be personified as part of their creative nature.

This album is by far from just a recording of musical talent. It’s not only an emotional journey, an eye opener, and a heartfelt welcome to what Thin Lizzy as a band have the ability to be; it’s also a talented peace of work from everyone involved behind the scenes.

Having been lucky enough have heard the album at the Dolby Atmos Theatre in London in November, I was there truly educated on the efforts, talents, and time taken to produce this artistic offering. Sound recording, time recorded, mixing, blending, cleaning, polishing of all previous works, well over 50 years in the making.

It isn’t what I wanted a new Thin Lizzy album to be. But it is what Thin Lizzy wanted it to be. And that’s the point in music. It isn’t for the fans. It’s work, that an artist chooses to produce. And if you like it, then that’s just peachy. If you don’t, well that’s OK too.

This modern production, of heritage talent, is quite something. It might be by far from what you wanted, it is probably what you expected, and, it’s exactly what you probably needed.

An amazing job has been done by the musicians, the producers, the art workers and the family in order for this latest record to be finished. It should be in your collection as it demonstrates how music has no limitations, and how it can appeal to so many people. Nice job.

• Mama Nature Said (Acoustic Version)

• A Song For While I’m Away (Acoustic Version)

• Eire (Acoustic Version)

• Slow Blues (Acoustic Version)

• Dublin (Acoustic Version)

• Whiskey In The Jar (Acoustic Version)

• Here I Go Again (Acoustic Version)

• Shades Of A Blue Orphanage (Acoustic Version)

• Remembering Pt. 2 (Acoustic Version)

• Slow Blues G.M (Gary Moore) (Acoustic Version)

The album will be available in both CD and limited-edition marble vinyl formats, along with an ultra-limited vinyl edition featuring an exclusive bonus track. Don’t miss out on this once-in-a-generation release from one of rock’s most beloved bands.

Order Now: 

https://thinlizzy.lnk.to/TheAcousticSessions

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