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lead guitar from “the boys are back in town” by thin lizzy | ToneDB

the boys are back in town

thin lizzy

lead guitar

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Tone Profile

A bright, articulate, and melodic lead guitar tone, characterized by a prominent wah-wah effect and the natural overdrive of a cranked Marshall amp. It's cutting and vocal, perfect for harmonized lines and expressive solos.

Signal Chain

Instrument: Gibson Les Paul Deluxe (with mini-humbuckers)

Amp: Marshall 100W JMP Super Lead

Microphone: Shure SM57

Processing: Dunlop Cry Baby Wah, MXR Phase 90

Other: Bridge pickup selected. Amp pushed into natural overdrive. This represents one of the two lead guitar setups; the song's iconic sound comes from two such guitars playing harmonized lines.

Recording Notes

  • Recorded in 1976 at Ramport Studios and Olympic Studios, London, produced by John Alcock.
  • The song is famous for its harmonized twin-lead guitar parts, typically played in thirds by Scott Gorham and Brian Robertson.
  • Both guitarists predominantly used Gibson Les Paul guitars (Scott Gorham often a Deluxe with mini-humbuckers, Brian Robertson Standards/Customs with full-size humbuckers) into Marshall amplifiers.
  • The wah-wah pedal is a signature element of the lead guitar solos on this track, used extensively by both guitarists.
  • Guitar solos were often developed and refined in the studio, building on initial improvisations and collaborative input.

Recreation Tips

  • Use a Gibson Les Paul (Deluxe models with mini-humbuckers for Scott Gorham's specific tone, or Standard/Custom for Brian Robertson's).
  • A Marshall JMP or Plexi-style amplifier (or a quality modeler emulation) is crucial. Aim for edge-of-breakup to moderate crunch, not high saturation.
  • A wah pedal (e.g., Dunlop Cry Baby) is essential. Practice expressive, rhythmic sweeps that complement your phrasing.
  • Select the bridge pickup for a cutting lead tone that punches through the mix.
  • Consider an MXR Phase 90 for subtle phasing, a common effect in Thin Lizzy's sound, though the wah is more dominant on this specific track's main solos.
  • To fully capture the song's magic, collaborate with another guitarist to play harmonized lines, typically a musical third apart.
  • Focus on clear, melodic playing with strong vibrato and blues-rock sensibilities. Listen closely to how the original parts are phrased with the wah.

Sources