Gorham and Robertson generally played lead lines in harmonic tandem, while Downey (a great drummer who had equal amounts of power and style) drove the engine. Lynott's thick, soulful vocals were the perfect vehicle for his tightly written melodic lines. His sweeping vision and writerly impulses at times gave way to pretentious songs aspiring to cliched notions of literary significance, but Lynott's limitless charisma made even the most misguided moments worth hearing.br /br /After a few early records that hinted at the band's potential, Lizzy released Fighting in 1975, and the band (Lynott, guitarists Brian Robertson and Scott Gorham, and drummer Brian Downey) had molded itself into a pretty tight recording and performing unit. Also, as a black man, Lynott was an anomaly in the nearly all-white world of hard rock, and as such imbued much of his work with a sense of alienation he was the outsider, the romantic guy from the other side of the tracks, a self-styled poet of the lovelorn and downtrodden. As the band's creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-cla** dramas of love and hate influenced by Bob Dylan, Bruce Springsteen, and virtually all of the Irish literary tradition. Formed in the late '60s by Irish singer/songwriter/ba**ist Phil Lynott, Lizzy, though not the first band to do so, combined romanticized working-cla** sentiments with their ferocious, twin-lead guitar attack. Despite a huge hit single in the mid-'70s ('The Boys Are Back in Town') and becoming a popular act with hard rock/heavy metal fans, Thin Lizzy are still, in the pantheon of '70s rock bands, underappreciated.

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