He used Rotosound RS77LD Jazz Bass flatwound strings and always played with a pick, preferring an aggressive, driving attack. More often than not, he could be seen using Marshall 1969 Super Bass amps, although Acoustic and Hi-Watt amplification was also commonly used. Lynott used several basses throughout his career but at this time his trusty black Fender Precision with a mirrored scratchplate was the favored instrument he used the scratchplate to highlight members of the crowd from his vantage point on the stage, which he bestrode like a leather-clad god. This was not a band that needed much help in the studio. Guitar players Robertson and Gorham have always disagreed and a new boxset version of the album proves them right, with the original shows reinstated in their uncut and un-dubbed glory. Tony Visconti once said that seventy-five percent of Live And Dangerous was overdubbed. It’s widely considered to be one of the greatest live albums ever released, although rumors about the number of overdubs added in the studio have dogged the album to this day. Released in June 1978, Live And Dangerous peaked at number 2 in the UK album charts, only held off the top spot by the Grease soundtrack. They featured the classic line-up of Phil Lynott (vocals and bass guitar), Scott Gorham and Brian Robertson (guitars) and Brian Downey (drums) and the double album was produced and pulled together by producer Tony Visconti, compiled from over 30 hours of recorded shows. Inspired by the success of Peter Frampton Comes Alive, Live And Dangerous was cultivated from a three-night run at London’s Hammersmith Odeon in November ‘76, plus two at Philadelphia’s Tower Theatre, and one in Toronto in 1977. And while their albums were studded with gems, it was their live shows that sealed their reputation. In 1978, Thin Lizzy were at the peak of their powers, blazing a trail for Irish rock around the world and exploding across live stages.
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