Thin Lizzy - Johnny the Fox
- FaceOff - עימות חזיתי
- Oct 16, 2024
- 2 min read
On October 16, 1976 "Thin Lizzy" released their 7th studio album "Johnny the Fox".
This album showcases the band at their creative peak, blending hard rock with blues, folk and even funk and soul elements, while maintaining their signature twin guitar attack.
The album was born out of a challenging time for frontman Phil Lynott. After falling ill with hepatitis, Lynott was hospitalized in Manchester during June and July of 1976, forcing the band to cut their "Jailbreak" tour short. Despite the setback, Lynott made the most of his time, armed with an acoustic guitar, and wrote the songs that would form the backbone of "Johnny the Fox" in his hospital bed.
It is the last "Thin Lizzy" studio album with guitarist Brian Robertson and it surprisingly features Lynott’s friend Phil Collins of "Genesis" on percussion.
The album opens with "Johnny," a gritty, narrative-driven rocker about an outlaw, immediately drawing listeners into Lynott’s world of complex characters. The sharp ear listener will surly notice the brass instruments in the background, which will visit later on the album enforced with string arrangements.
"Thin Lizzy's" signature dual guitar harmonies, delivered by Scott Gorham and Brian Robertson, are in full force throughout the record, with tracks like "Rocky" and "Massacre" showcasing their technical prowess and energy.
Tracks like "Borderline" and "Fools Gold" delve into more introspective themes, offering a softer side to the album’s otherwise gritty rock sound. The heartfelt ballads "Old Flame" and "Sweet Marie" provide a contrast to the tougher, streetwise narratives, showcasing Lynott's ability to balance vulnerability with raw power.
"Johnny the Fox Meets Jimmy the Weed" has a funky vibe that highlights the band's willingness to explore new sonic textures.
A key moment in the album’s creation was the tension between Lynott and Robertson over the composition of "Don't Believe a Word." Initially, Lynott introduced the song as a slow 12-bar blues, but Robertson famously dismissed it as "shite." The song was reworked into the fast-paced rocker that fans know today, though the original bluesy version would later resurface when Lynott and guitarist Gary Moore recorded it for Moore's "Back on the Streets" album in 1978.
Although "Johnny the Fox" didn’t achieve the commercial success of "Jailbreak", it stands as a testament to "Thin Lizzy’s" creativity and resilience. Written under the shadow of Lynott's illness and internal band tensions, the album retains a raw energy and narrative depth that makes it a standout in their discography.
For Listening: Spotify, Apple Music
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