Live and Dangerous

Product Information

For this specific sale the CDs sleeve condition refers only to the inner paper insert sleeve, and does not refer to the outer digipak, jewel case or cardboard outer casing.

Oft cited as the definitive document of hard rock performance, …Dangerous brought an impassioned, piratical air to Phil Lynott’s sometimes cock-sure, sometimes heartsore songs. There is some overlap of tracks between the two albums, though Still Dangerous is completely live with no overdubs. The band began touring to promote the album, but after a one-off gig in Ibiza, Lynott and Robertson had an acrimonious argument. The setlist feels like a greatest hits compilation, with classics like “Emerald,” “Opium Trail,” and “Bad Reputation” making appearances. I’m thrilled to share with you an unboxing of a highly sought-after gem: the Thin Lizzy Live and Dangerous Deluxe Edition.

Of course, the vast majority of rock and metal fans already know and love this album, so there is no point reviewing as it were.

Add to it such strong album cuts as "Massacre", "Johnny the Fox Meets Jimmy the Weed", "Warrior", "Suicide", and "The Rocker", and you have the ultimate Lizzy album. The band had rearranged "Still in Love with You" to be slower and more emotional than the original studio version, and the version on Live and Dangerous was considered by Putterford the highlight of Lynott's musical career. Instead enjoy those left off: Johnny, It’s Only Money, Soldier Of Fortune, Opium Trail and Bad Reputation. There are seven bonus live discs that illustrate what a great band Philip put together with the twin guitar line-up.Not only that, but we also get a final show from London from the 1978 tour in support of the albums release. Unlike all the other’s what was actually released was a soundcheck recording, with crowd noise overdubbed to sound live. All sources agree that overdubbing took place on Live and Dangerous, although there is considerable disagreement about the extent of them. 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.