THIN LIZZY – Acoustic Sessions (2025) *HQ*

A new THIN LIZZY album 2025? Really? Yes folks; titled “Acoustic Sessions“, the CD / LP brings together the legendary voice of Philip Lynott, the masterful guitar work of founding member Eric Bell, and the powerful original drum takes of Brian Downey.
This unique project offers fans a rare opportunity to experience Thin Lizzy’s classic hits like never before, with Lynott’s previously unheard vocal takes perfectly complemented by Bell’s fresh acoustic arrangements and Downey’s dynamic drumming. Drawing on material from the band’s iconic Decca era, “Acoustic Sessions” revisits tracks from Thin Lizzy’s first three albums, presenting them in an intimate, stripped-down acoustic (and not-so acoustic) format that is sure to captivate both longtime fans and a new generation of listeners.
Taking Lynott recorded vocals parts and some instrumental old tapes, Bell & Downey recorded the necessary music to complete “Acoustic Sessions”, a wonderful piece of music. This album is by far from just a recording of musical talent. It’s not only an emotional journey, an eye opener, and a heartfelt welcome to what Thin Lizzy as a band have the ability to be; it’s also a talented peace of work from everyone involved behind the scenes.

After press play, our ears are greeted with ‘Mama Nature Said’. A beautifully sounding acoustic guitar and raw vocal. Cleanly recorded, with a touch of gravel to the voice. It isn’t Cold Sweat, but then it isn’t suppose to be. This was written pre that era. Pre that knowledge. Pre the existence of relevant influence. This music, was garage music, even bedroom music, written and played by friends who enjoyed the freedom of early days music creation. This track says it all – ‘free from persecution’ and the track fades away as gently as it arrived.

‘A Song for While I’m Away’ – The Beatles just called, they want their track back. More vocals, this time double tracked I assume. Sung cleanly over the acoustic, the keys and various strings. It’s hugely relaxing, and so well designed as a song. But equally as unexpected.
It doesn’t take long and we’re into ‘Eire’. It’s captivating, and the acoustic soloing from Bell is quite something. Not inspiring me to raise the single handed devil horns, but it is creating a sense of peace, calm, and intrigue as to what is next on the album tracklist.

‘Slow Blues’ – I might as well now be on the high street of an old western town. Orange sand, a gentle breeze whipping up the dust, as I stare down my opponent as our trigger fingers twitch in the sun light. A small audience is building, as the local coroner measures up the coffin for the loser. Disturbing my rather morbid yet naturally conjured up image, is the burst of electric guitar splitting the peace. This track is awesome!
Keep your ears open for this, it has to be added to a Tarantino film for sure. It was made for and epic movie without doubt. If no one is already doing it, I’d want to make a film just so I can use this track in the soundtrack. Any takers out there?!
‘Dublin’ is track 5, and a great one. It’s history, meaning and clear emotion associated to the times and feelings of the creators. Not often that just a guitar and a voice can keep you entertained for this long.

Now there’s the classic ‘Whisky in the Jar’. It’s clearly a crowd pleaser, and the most well known track on the album. To be fair, it’s a great version. Upbeat, has percussion, guitars, vocals and appears more complete than some of the previous songs on the album. By comparison, the other songs had a touch of demo stage about them, where as this track is full on full band assault. Still acoustic, and still different, but, definitely more polished.

We race into track 7, ‘Here I go Again’. We revert back to the acoustic guitar, and that soft gravelly voice continues to keep the pace. With a traditional punctuated guitar strum balanced with brief pauses, the track maintains attention, and has that typical ‘pub open mic’ feel. That’s not to belittle the track, its to compliment where it would sound the best.
The penultimate track, ‘Shades of a Blue Orphanage’ opens with the classic ‘2, 3, 4’ vocal timing, and Lynott’s voice sounds as clear as it did when the song was first laid down. Another softer, deeper and more meaningful track. Sparking emotions of the artists who wrote this music with heartfelt feeling. So far into the album, it’s clear that Thin Lizzy had more emotional content and range to their talents that few would have ever experienced before this release.
Finishing with ‘Remembering Pt 2’, I’m left freshly educated and open minded to how artists can evolve, or even more simply, choose how they want to be personified as part of their creative nature.

“Acoustic Sessions” is a fantastic piece of work, the fruit of many personnel involved, talents, and time taken to produce this artistic offering. Recording, mixing, blending, cleaning, polishing the original tapes – well over 50 years in the making.
It isn’t what I wanted a new Thin Lizzy album to be. No, it isn’t Lizzy rocking hard, but amazing anyway. This release, of heritage talent, is quite something. It might be by far from what you wanted, it is probably what you expected, and, it’s exactly what you probably needed.
An amazing job has been done by the musicians, the producers, the art workers and the family in order for this latest record to be finished. It should be in your collection as it demonstrates how music has no limitations, and how it can appeal to so many people.
HIGHLY Recommended

01 – Mama Nature Said – Acoustic Version
02 – A Song For While I’m Away – Acoustic Version
03 – Eire – Acoustic Version
04 – Slow Blues – E.B – Acoustic Version
05 – Dublin – Acoustic Version
06 – Whiskey In The Jar – Acoustic Version
07 – Here I Go Again – Acoustic Version
08 – Shades Of A Blue Orphanage – Acoustic Version
09 – Remembering Pt 2 – Acoustic Version

Philip Lynott – Vocals, Bass
Eric Bell – Guitars, Bass
Brian Downey – Drums, Percussion

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