Just read the song credits: at least fifty percent of this album features Brian Downey, Scott Gorham, Gary Moore and Snowy White – the core of Thin Lizzy. Elsewhere we find Mark Knopfler of Dire Straits (on the glorious King’s Call single), Midge Ure of Ultravox (on Yellow Pearl, which became the theme tune to the UK’s Top of the Pops for many years), and Huey Lewis (who would later release his own version of one of the songs here, Tattoo, and who incidentally is one mean harmonica player). A solo album was the ideal place for Phil Lynott to try out styles unsuitable for Thin Lizzy, and though the results were patchy, certain gems were immediately apparent. The title track, with its reggae beat, must surely be one of Lynott’s finest recordings. Ode To A Black Man thrills with it’s chunky bass and sharp lyrics. Talk In 79 allows Lynott to deliver a spoken monologue set against a tight bass & drum line, showcasing just what a superb bass player he really was. Elsewhere we have Dear Miss Lonely Hearts which wouldn’t have been out of place on Lizzy albums such as Renegade or Chinatown. Although Phil Lynott’s solo work never seriously challenged his band’s output, Solo in Soho (and to a much lesser degree his second solo album) exhibit instances of the pure talent that marked him out as one of rock music’s true innovators, and Solo in Soho remains the finest album that Thin Lizzy never released.