By the end of 1984, it was becoming increasingly clear that Phil Lynott's first post-Thin Lizzy outfit, Grand Slam, wasn't going to succeed. After a year of playing Europe, the band was still without a recording contract, and shortly after a gig at the famed Marquee Club on December 4, 1984, the band was no more. But it's not to say that the group wasn't worthy, as evidenced by Twilight's Last Gleaming, which is a document of the group's aforementioned final performance. Think Thin Lizzy with more of a focus on keyboards, ...
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By the end of 1984, it was becoming increasingly clear that Phil Lynott's first post-Thin Lizzy outfit, Grand Slam, wasn't going to succeed. After a year of playing Europe, the band was still without a recording contract, and shortly after a gig at the famed Marquee Club on December 4, 1984, the band was no more. But it's not to say that the group wasn't worthy, as evidenced by Twilight's Last Gleaming, which is a document of the group's aforementioned final performance. Think Thin Lizzy with more of a focus on keyboards, and you're not far off from Grand Slam. Included are early versions of tracks (all of which posses surprisingly good audio) that would turn up in the future elsewhere -- "Military Man" (on Gary Moore's Run for Cover), "Nineteen" (issued as a Lynott solo single just before his death), and "Dedication" (on Thin Lizzy's Dedication comp). Also, you'll find renditions of tunes that will be familiar to Lizzy fans ("Cold Sweat," "Parisienne Walkway"s), plus tracks that slipped through the cracks ("Can't Get Away," "Harlem," "Gay Boys," etc.). Since Grand Slam's sound was so Lizzy-esque, it was understandable that friends of Lynott later admitted he was contemplating putting Lizzy back together shortly before his passing. ~ Greg Prato, Rovi
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