Und da der Mythos die offizielle Live Doppel-LP/CD "Live and Dangerous" sei eine Live-Scheibe nahezu nicht auszurotten ist, hier die nackte Wahrheit.
Mir fiel mit 15/16 immer der eklatante Unterschied (in Sachen zweistimmige Läufe, Präzision, Intonation etc. etc.) zwischen der "Live and Dangerous" Doppel-LP und dem Rockpalast Konzert auf der Loreley auf, dass ein Kumpel auf einem der frühen VHS Video-Rekorder aufgenommen hatte.... those were the days 
Dann gab es immer wieder Diskussionen mit anderen. Ich sagte "da stimmt was nicht mit der Live and Dangerous, da ist alles so viel exakter. Kaum Unsauberheiten bei den Gitarrenläufen und Soli, auch der Gesang ist so unglaublich perfekt" andere sagten "quatsch, die haben da die genialsten Gigs ausgesucht, die sind eben live oftmals so gut".... die Wahrheit und das ich richtig lag, erfuhr ich dann erst viele Jahre später... auch teilweise durch Einblick in die Bootleg-Archive mehrerer Sammler, also viele Hörproben, die bestätigten: es gab kein einziges Konzert wo Thin Lizzy so klang und so fehlerarm spielte wie auf der "Live & Dangerous".
Thin Lizzy war natürlich live immer eine überragende Band mit fast in allen Besetzungsphasen fantastischen Musikern mit überragendem handwerklichem Können. Nur ist die Live and Dangerous Doppel-LP doch noch etwas überragender als sie es wirklich je waren.
Auszug der Anekdoten des damaligen (und bis heute weltberühmten)Produzenten Tony Visconti
THIN LIZZY : LIVE AND DANGEROUS
Bad Reputation was a big hit. That meant Lizzy and I would get a second chance to create a great album. Unfortunately they caught me between a Bowie album and at least three other projects I had committed myself to produce -- albums by the Steve Gibbons Band, the Radiators and Rick Wakeman. I was also trying to launch my own Good Earth record label that year. The record company was clamoring for a new Lizzy album and the band wanted to work with me. As much as they wanted to do another studio album, they felt that I couldn't accommodate them because of my commitments (which was true). So we had a summit meeting at my Good Earth studios. Phil said that they had stacks of tapes from live gigs, so why didn't we spend two weeks going through the tapes and come up with a decent live album? That was the best we could do in two weeks. Hah! For the next eight weeks I was up to my eyeballs in Live And Dangerous!
We listened and listened and listened -- to at least 30 hours of tape recorded during many gigs, from Toronto to Philadelphia to London! We definitely had something, but the task of choosing the right takes was awesome. When we did, Phil asked if he could touch up some vocals. No harm in that -- this is commonly done for live albums because of technical faults, like microphone wire buzz and other gremlins. The trick to getting a studio vocal to sound like a convincing live vocal is to sing the song in the same way. Otherwise the live voice will poke through if the new voice is not in sync.
We spent a few days re-recording a few vocals. It went very well. Once we established a sound and a system to do this, Phil suggested that we might as well redo all the vocals. So we did. Then we noticed that Gorham and Robertson were not on mic for backing vocals half the time. If you listen closely you can hear Phil doubling the backing vocals at the same time he was singing lead! Then Phil realized that he'd missed a few notes on the bass when he was singing live. Could we replace some bass parts? "Of course!" I said. We did. The bass was harder and more precise and so ALL the bass parts were replaced. In walked Scott Gorham and Brian Robertson. Since it was so easy to replace Phil's parts, could they redo theirs? "Of course!" But now it was obvious that this was not completely live anymore. The guitars, bass and vocals were replaced -- just Downey's drums and the audience reaction were left! Fortunately Downey liked his playing and we kept ALL the drums.
I've gone on record before saying this album was 75% recorded in the studio, so I hope I haven't shattered any illusions. Still, the album went platinum, reaching #2 on the British charts, and it deserved it. Every track was performed before a live audience with the exception of "Southbound". There weren't any good takes of the song recorded in concert, so we used the recording made during the sound check onstage in Philadelphia and dubbed in the intro and outro audience reaction from that night's show.
Because the original recordings lacked certain details I had to resort to some trickery when Phil asked for audience participation. For instance, on the breakdown of "Rosalie" Phil asks the audience to "put yer hands together". I boosted up the audience tracks and there was a wildly enthusiastic audience clapping like mad, but the band was far louder. I couldn't use those tracks because the band would've sounded too echoey, picked up by the high audience mics. So I made a 20-second loop of the audience clapping for an encore. I put the loop through electronic gates that were triggered by a note from a keyboard. The loop was silent until I played a note on the keyboard. So when I played quarter notes (crotchets) it sounded like the audience was clapping along. Remember, they'd been clapping along that night but the mics just didn't pick them up loud enough. Also, at the end of this track the tape ran out and I had to edit in the audience reaction from the end of another song. That's why it literally sounds like a burst of applause at the end.
Despite the necessary trickery this album is very real. It represents electrifying moments before an audience and fabulous second chances to get it right in the studio.
Der nennt sich auch nicht Silbereisen. 