![]() It was a style that was unique in rock and has never been emulated. It came about when Brian Robertson played a solo back on top of a delayed recording and the effect sounded nice, didn’t it just. And from Scott Gorham (who occupied the ‘left hand side of the stage’ as a counterpoint to the revolving door of virtuoso players to his right), how the famous Lizzy ‘twin guitar harmony’ signature style was created “by accident”. The talking heads were of high quality and I especially enjoyed first hand accounts of how Midge Ure - 80s electronic pioneer - got to fill in for half a USA tour in one of the world’s most renowned rock bands (and hey, holding his own, having learned the guitar parts on the flight to the USA - and that was on a concorde). It was a highly effective storytelling device, but over all too soon. ![]() When we got there, the film raced through those successful years at breakneck pace, much as if it would have been living the life. The film is such an effective collage of footage, imagery, the talking heads and of course the music - glued together with art-school visual effects - as to be a genuinely immersive experience. Once we got to Eric Bell’s departure and the ‘classic twin guitar line up’, I could have sat on that sofa another three hours to enjoy the story of Lizzy in its prime. I liked the way the film took it’s time to explore Lynott’s struggle (and his determination), though I began to wonder how much time would be left to cover the glory years. ![]() The film took its time, dedicating much to those early years, unravelling the enigma behind one of the handful of black boys growing up in Ireland in the 50s, the bond between Lynott and Brian Downey that formed the heart of Lizzy in all its shapes and sizes to come.īrett Andersen from Suede once said that all successful artists have followed a similar arc, comprising four stages: the struggle, the stratospheric rise, the crash, and then the renaissance. The film works as a fine example of telling the story of a rock icon from their early childhood days, and their formative years, through to the journey of their stardom. I drank it in, a notebook sitting on the tiny table next to my sofa untouched throughout, through fear of missing any tiny details. Those close to Lynott or Lizzy told their personal stories and made often touching reflections. It’s a beautifully made film - making artful use of (very limited) scuzzy old film, those amazing Lynott photographs and intimate, thoughtful talking heads. I’m watching the finished film in a half-full ‘sofa auditorium’ with my wife on a limited cinema release (part of Everyman’s Music Film Festival) in the heart of the second wave of the COVID-19 pandemic. And so here I am, on a rare night out and a very special occasion - just down the road in Esher at the Everyman Cinema. How did I ever miss that? Blame the strange times. ![]() Somehow, I hadn’t spotted that Emer Reynolds had done just that and that the trailer for the film was first put out there in the summer of 2020. ![]() NOW That’s I Call Classic Rock features 17 hits that represent the best of the rock repertoire with tracks from Queen, Elton John, The Who, Aerosmith, Lynyrd Skynyrd, The Allman Brothers Band, Cheap Trick and more.It’s funny, just a few weeks ago I was imagining that someone could, and should, make a documentary film about Phil Lynott and Thin Lizzy. CD FLAC (tracks, cue, log) - 571 MB | MP3 CBR 320 kbps - 186 MBġ:19:54 | Classic Rock | Label: Universal ![]()
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