work began on the Monday morning and was done on Friday evening. Brian Downey says: "We got up at nine in the morning, [went] into the studio, played from about ten or half ten to eight or nine, then clocked off and went back to the guesthouse. Then we did it again, for the whole week". According to manager Brian Tuite, while working with producer Scott English, Lynott had a fight with him about the bass sound: "Philip fell out a bit with him because Scott wanted to turn down the bass. It got to the stage where I was up in the control room and Scott would say, 'Go down and tell the bass player to turn down.' He wouldn’t use the [talkback] mike because Phil wouldn't do it anyway. So I'd say to Philip, 'The Bearded One wants you to turn down the bass,' and he'd say, 'Tell that fucking Yank to piss off.' He knew full well the mike would be open." Eric Bell explained that the band was stoned during the whole process of recording and that he doesn't remember anything from the sessions but he remembers Scott English's accompaniment with band of giving them bags of weed: "We were permanently stoned. Scott English was this jovial American guy, a nice big bloke. He had this enormous bag of grass in one of the drawers in the studio. He brought it out, threw it on the table and said, 'Help yourselves, boys!' That was it. I can’t actually remember recording the first album. I didn’t know anything until the end of the record, it was just a haze. Smoking a bit of dope and playing music went hand-in-hand for us. We were just that type of band at that point in time. It seemed to work for us, we got ideas. There was a lot of things on that album that were completely ad-libbed." Reception Eduardo Rivadavia, in a retrospective review for AllMusic, described the album as "surprisingly mellow" and wrote that a number of songs sound "confused and unfinished". However, he did describe "Look What the Wind Blew In" as a "hint of things to come", and that the bonus track "Dublin" from the "New Day" EP contained "Lynott's first great lyric". Canadian journalist Martin Popoff appreciated the experimental flavour of the album "drawing mainly from bluesy non-metal influences" and found the compositions "astonishingly well