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If you know anyone named Sarah that you are in love with, then this may feel a bit awkward. I mean if you really like them then not really, but hear this enough and the thought of that person when this song is playing will never cease to exist. For Lynott, it was an ode to his baby girl, but not the end of his bachelor days. No, the man lived like a bachelor and died living like one – the way any guy wants to die. This single would close the chapter of the 1970s and make way for the short-lived ‘80s, when things began to mix.
“Sarah” is the slow, humble ballad that’s all vocals and less of everything else. This could be a lullaby, but for now it’s a father’s love song to his daughter. Corny, yes, but the twiddling acoustics and airy percussion is charming. It certainly extends variety to the Black Rose album, and here it enjoys space aside a harder (but still light) track, “Got To Give It Up”. The solo section gets noodly first but then atmospheric and buoyant, and the bass is mellow like the song.
The next song begins a little seriously before roaring with a cultured twin-riff from Moore and Gorham. The tone is crisp and upfront while the percussion smacks and rolls. The bass line glides under the two elements, but it’s Lynott’s cool / calm delivery with the riffs that makes this a catchy jive. The solo spirals and criss-crosses with itself harmoniously and extends into the chorus after it. It later shows up for an outro that finishes off the job vivaciously.
So it’d be nice to have that cover art in your collection, but both these tracks appear on the Black Rose album. Therefore, it’s pretty needless to have this unless you’re a collector. For most of us, just skips this and go for the main album. Otherwise, note this as Lizzy’s last official release of the 1970s. Things are nice here, but the 1980s don’t entirely look bright for the band.