I said elswhere on this site that Thin Lizzy invented twin guitar heavy metal, and while that may be a big call to make in light of the fact that Sad Wings of Destiny by Judas Priest came out on almost exactly the same day as this album, I stand by it. One listen to the closing track on this 1976 masterpiece should just about remove any doubt: "Emerald" is the prototype for all Iron Maiden songs, twin guitar melodies and criss-crossing lead breaks building to a crescendo of epic proportions. You can almost picture Steve Harris listening to this and saying, "That's what I want my band to sound like!"

Thin Lizzy made some great records but Jailbreak is possibly their greatest. Every song on here is a deadset gem, a testament to the abilities of the band and the sheer power of Phil Lynott's songwriting genius. His lyrics are evocative and detailed, like the story-telling poety of Dylan or Springsteen and he sings them in a richly resonant, velvety smooth voice that occasionally sounds like a lucid Hendrix. This album may be remembered mostly by many for the brilliant "The Boys Are Back in Town" with its vivid depiction of delinquent nightlife, but trying to find a track here that doesn't match it is virtually impossible. Lynott's almost seductive singing is offset by thunderously heavy riffing and the interplay of Brian Robertson and Scott Gorham, a team that, as mentioned, set the benchmark for dual-guitar rock that Maiden, Priest, Saxon and even Def Leppard would later mimic. It's a sublime and compelling combination, put together in a way that has never quite been matched.

For some reason, Jailbreak doesn't seem to enjoy the same level of regard these days as some of more illustrious releases from that year (and let's face it, there was some great ones: Sad Wings, Dirty Deeds, Dreamboat Annie, Destroyer, 2112) but metal may have never sounded quite the way it does without it.