Thin Lizzy - Shades Of A Blue Orphanage (1972) & Night Life (1974) [2on1, 2004]

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Thin Lizzy - Shades Of A Blue Orphanage (1972) & Night Life (1974) [2on1, 2004]

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Named after the musicians' previous bands (Bell's Shades of Blue and Lynott and Downey's Orphanage), the disappointing Shades of a Blue Orphanage proved that Decca Records had absolutely no idea of what to do with Thin Lizzy. The complex arrangements of the title track and "The Rise and Dear Demise of the Funky Nomadic Tribes" are as overblown and disjointed as their titles. "I Don't Want to Forget How to Jive" is a lame, '50s-style rockabilly number, and "Call the Police" is only saved by Lynott's captivating tell-tale lyrics – something at which he would later excel. Lynott is equally eloquent and personal on the piano-led "Sarah," written about his grandmother and not to be confused with the song by the same name written for his daughter seven years later. The album's few, truly bright moments are confined to the aggressive hard rock of "Baby Face" and the charming, descending riff of "Buffalo Gal," a melancholy, mid-paced ballad in the style which would become a Lynott trademark. (3/5)

It's curious that Night Life – the first album Thin Lizzy recorded for Mercury, the first album to feature guitarists Scott Gorham and Brian Robertson, the album that in many ways kicked off their classic era – is in many ways a complete anomaly within their catalog. It's a subdued, soulful record, smooth in ways that Thin Lizzy never were before and rarely were afterwards. To be sure, the title Night Life is accurate but not in the sense of this providing a soundtrack for a night out on the town – quite the opposite actually. This is the soundtrack for an intimate night in, either alone or as a pair, since it has moments ideal for either contemplation or seduction. There are still some moments of tough, primal rock & roll – there's the funky workout of "It's Only Money" and the nasty "Sha-La-La," both excellent showcases for Gorham and Robertson – but they stick out among the jazzy, soulful whole, even if they never quite disrupt the mood. And it's that mood that's so appealing about Night Life – it's a warm, soulful sound that resonates in ways Thin Lizzy's earlier records didn't. And it's not just because of the feel of the music, either, it's due to Phil Lynott's increasing growth as a songwriter. Much of this is quite sentimental – especially the closing "Dear Heart" – but it's never saccharine or sappy, it's big-hearted and effecting, best-heard on the gently propulsive, utterly addictive opener "She Knows" and the easy-rolling jazzy "Showdown." These may be the high-water marks on this album, but they're not the only highlights, they're just the most immediate, representative signs of the charms of this underrated gem of a record. (3.5/5)

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Thin Lizzy - Shades Of A Blue Orphanage (1972) & Night Life (1974) [2on1, 2004]

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