Thin Lizzy On Track: Every Album, Every Song

Sonicbond Publishing Limited

www.sonicbondpublishing.co.uk

Email: [email protected]

First Published in the United Kingdom 2020

First Published in the United States 2020

British Library Cataloguing in Publication Data:

A Catalogue record for this book is available from the British Library

Copyright Graeme Stroud 2020

ISBN 978-1-78952-064-4

The right of Graeme Stroud to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from Sonicbond Publishing Limited

Printed and bound in England

Graphic design and typesetting: Full Moon Media

Acknowledgements

The author would like to offer profuse thanks to everyone who helped in compiling this information, including the fanatical fans who support the forums and maintain so many musical websites, blogs, and online commentaries.

The following people merit particular attention:

Stephen Lambe, Brian Stroud, Jim Fitzpatrick, Dirk Sommer and Larry Canavan and everybody at VelvetThunder.co.uk, especially Lee Vickers and Steve Pilkington. And, of course, my wife Caro and our children, Lorelei and Haslem, for getting right behind the project and giving it their unflagging support – thanks and love.

A special shout to John Crookes for going above and beyond! Thanks, John!

Extra special thanks to Brian Downey.

Honourable mentions and heartfelt thanks to all of the following:

Adriano Di Ruscio, Alain Pacaud, Andy Fox, Anthony Booth, Chris Puttock, Colin Hunt, Des Moloney, Glen Prince, Jack van Dijk, Marcel Hartenberg, Jim Cameron, John Carreiro, Justin Young, Keith Campbell, Kevin Curran, Malc Leese, Mats Andersson, Mick Morton, Mike Mooney, Neil Ford, Rade Hendrix, Scott Glazier, Scotty Johnson, Stacy Williamson, Steen Bugtrup, Stephen Gardner, Steve Morris and Trevor Raggatt.

Contents

Introduction

Thin Lizzy

Shades Of A Blue Orphanage

Vagabonds Of The Western World

Nightlife

Fighting

Jailbreak

Johnny The Fox

Bad Reputation

Live And Dangerous

Black Rose: A Rock Legend

Chinatown

Renegade

Thunder And Lightning

Life (Live)

What Phil did next…

What the rest did next…

Compilation Albums

Bibliography

Internet Resources

Introduction

With its back against the wall of the Atlantic Ocean and its face towards Britain and the vast sweep of the Eurasian continent beyond, Ireland is an outsider, the last outpost of Western Europe. Steeped in the musical tradition of Gaelic folk, Ireland has nevertheless contributed some stellar characters to the history of rock, in which the name of Thin Lizzy looms large. And when discussing the rock band Thin Lizzy, it is no mistake to concentrate heavily on its instigator, lyricist and public-facing persona, the late Philip Lynott.

Someone in the market for a Thin Lizzy record or CD will usually be directed to the section marked ‘Hard Rock/Metal’, or something similar. Thin Lizzy were a rock band, but their forays into real hard rock territory were few and far between, mostly in their latter days. Their back catalogue covered everything from melodic rock to soul, prog, folk, fusion and romantic balladry – to concentrate on their hard rock endeavours is to miss out most of their enviable history. Phil Lynott, a fatherless half-caste in a strictly Catholic country, lived bright and fast like a shooting star and burned himself prematurely into oblivion in an atmosphere of alcohol and hard drugs. His early work, though, reveals the soul of a poet.

The circumstances that brought the Lynotts or their ancestors to the Emerald Isle at some point in misty history, creating their character and personality, belong in another book. Still, we must pick up the story at some point, and strange as it may seem when opening the book on this most Irish of bands, we begin not in the Lynott family’s home city of Dublin, nor in the green and grassy Republic of Ireland at all, but in the English industrial heartland city of Birmingham. Thence a teenaged Dublin girl named Philomena Lynott had fled to find work in the aftermath of the most devastating war in history, and there she met and dallied briefly with a man named Cecil Parris from British Guiana. For a young, inexperienced and virginal Catholic girl to break as many taboos as she did is astonishing, nevertheless, she became intimate enough with the older, black foreigner for their brief relationship to leave Philomena pregnant. For sure, the trauma of the Second World War had blunted or demolished many taboos and perhaps excused a radical change in behaviour among the survivors, but tradition was still a mighty foe and Philomena, alone in a foreign country, kept the pregnancy secret from her distant family right up until the birth.

Her son Philip Parris Lynott was born on 20th August 1949 on English soil, at a hospital in West Bromwich near Birmingham. Philomena chased work and accommodation around the Midlands of England, infant in tow, but Philip at four years of age was at last sent back to Crumlin, a district of Dublin, to live with his grandparents Frank and Sarah Lynott.

It is difficult to imagine how this would seem in the staunchly Catholic capital of the Republic of Ireland in the days after the war. An illegitimate, motherless black child could conceivably be the target of all kinds of Dickensian oppression, but incredibly, it seems that although Philomena had suffered degradation and oppression in England for her lifestyle – in fact, she had two more children out of wedlock, both of whom were given up for adoption – Philip was accepted by his family, by his peers and by the community at large in Ireland. He was foreign-looking for sure, exotic even, and the differences were not lost on him, but he escaped any severe persecution and in fact grew up to be cool and popular, black and Irish, like a pint of Guinness, as he famously quipped.

Phil got into music at an early age, bought a guitar and also discovered that a boy in a lower year at his school, one Brian Downey, played the drums. While still in their mid-teens, the two lads started playing together up and down the country in a covers band by the name of The Black Eagles, who were good enough to have a Manager and everything. After that combo petered out, Phil went more avant-garde with a band named Kama Sutra, but then success looked in his direction when he was invited by bassist Brendan ‘Brush’ Shiels to front his new band Skid Row. Lynott wasn’t quite 18 when Skid Row played their first gig, but from the point of view of later Lizzy fans, things got even more interesting when guitarist Bernard Cheevers quit the band for a full-time job in civvy street. His replacement was a 16-year-old guitar wizard from the other side of the border in Belfast, named Gary Moore.

Skid Row recorded one single with Lynott singing, a folky, dreamy acoustic guitar ballad named ‘New Faces, Old Places’, with a swinging jazz number named ‘Misdemeanour Dream Felicity’ on the B-side. As fate would have it, Lynott had to take a break to have his tonsils removed; during the hiatus, Shiels took over the frontman duties and Lynott was effectively given the push, leaving Skid row as a trio with Moore on guitar and Noel Bridgeman on drums. Shiels softened the pill though, giving Lynott one of his bass guitars and teaching him how to play.

Armed with his rudimentary new instrumental skills, Lynott was invited to join Brian Downey’s blues band Sugar Shack, who had recorded one successful single in Ireland, a cover of Tim Rose’s ‘Morning Dew’ (originally written and recorded by Bonnie Dobson), with a cover of Cream’s ‘Sunshine Of Your Love’ on the B-side. Coincidentally, Sugar Shack were once supported by a band named Platform Three, which featured a very youthful Gary Moore on guitar.

When the Sugar Shack project splintered, Lynott and Downey formed a new band named Orphanage, with Joe Staunton on guitar and Pat Quigley on bass, until Lynott later took over bass himself. And this, as they say, is where the story really starts. Orphanage were, by all accounts, an ill-disciplined and loose amalgamation of several musicians, any of whom may or may not turn up on any given night. However, popular legend has it that they impressed another Belfast guitarist one night during a pub gig in Dublin.

Eric Bell was only a couple of years older than Lynott, but among a stack of other bands, he had played in an outfit named Shades of Blue and was briefly a member of Them, fronted by singer Van Morrison. Bell was prowling Dublin with keyboard player Eric Wrixon, another former member of Them, looking for decent musicians to form a new band, and when they found a local gig, they went along – the band on stage was Orphanage. Massively impressed both by Lynott’s lyricism and on-stage presence, and Downey’s superb drumming, Bell went backstage after the gig and asked the two lads right there and then whether they would be interested in starting a band with him and Wrixon. They had heard of Bell, who had trodden the same circuit as Gary Moore in Belfast, and agreed. The new four-piece eventually settled on the name Thin Lizzy after a 1950s character named Tin Lizzie from the Dandy comic.

The name itself is worth some attention. The original Tin Lizzie was an unofficial name for the classic Model T Ford motor car, the first car to be built using mass-production techniques in the early 1900s. In 1922, a driver named Noel Bullock entered a battered Model T which he had nicknamed ‘Old Liz’ into a race in Colorado, USA. The beaten-up old relic was assigned the nickname ‘Tin Lizzie’, and actually won the race, which cemented the reputation of the cheap Model T as a durable, reliable workhorse of a motor, and the name Tin Lizzie became well-publicised in the national press.

The Dandy created a story in 1953 about a robot housemaid named Tin Lizzie after the old car. She originally appeared as a prose character but was soon promoted to a picture strip, drawn by an artist named Jack Prout. In conversation with the author, Brian Downey explained how the name came to be applied to their new band:

One day we were sitting in the Countdown Club in Dublin when we were starting off, and I think it was Eric Bell who came up with the idea of Tin Lizzie, like the comic spelling. It was on a kind of a shortlist, and I remember sitting there going ‘Nah, that doesn’t sound too good…’ We went through another few names, but for some reason, we kept coming back. The next day we came back to it as well, because we were trying for a few days to find a name. Then Eric came up with the idea of putting the ‘h’ in. He said, ‘Well in Dublin, nobody pronounces the ‘th’ anyway, so it would just be a little bit of a joke.’ I think we did a couple of gigs calling ourselves Thin Lizzie with an ‘ie’. But we put the word out to promoters that we had changed the name again, it’s not ‘ie’ it’s ‘y’, but promoters still used the ‘ie’ for ages it seemed. But it was Eric Bell who came up with the idea; like myself, he was a Beano aficionado. We used to have comics in the van going to gigs as well; we were big comic guys.

The spelling was changed from Lizzie to Lizzy before they hit the big time, but they were still Lizzie when their first single was released.

In any case, both Orphanage and Bell were well-known enough for the new band, almost a supergroup in today’s terms, to be hotly anticipated, and their formation was announced in the press. Recollections differ as to where their first gig was played; either a school hall in Cloghran or in St Anthony’s Hall in Clontarf. Downey clearly recollects it as the Cloghran venue, but is aware that there is some disagreement, as he explains:

I think it was Cloghran, it was outside of Dublin as far as I remember. A lot of people do remember that gig in St. Anthony’s Hall though, including our ex-Manager Terry O’Neill, who mentioned to me years ago that was our first gig, though I always had the idea that we played in Cloghran first. I think maybe we could have done a quick half-hour in St. Anthony’s, a really quick gig, because I really can’t remember it, and then maybe played the official gig at Cloghran? So I’m not really sure, but it’s definitely one of those two gigs!

The four-piece dossed together in the upper floor of a block in Clontarf, on the seaward side of Dublin, close to the castle that would feature on their first album. They managed to wangle some free time at the new Trend studio by promising to record a song written by the owner, John D’Ardis. The song was called ‘I Need You’ and ended up as the B-side to their debut single, a Lynott composition named ‘The Farmer’, released under the name Thin Lizzie in 1970. Parlophone had been talking about signing the band, but the single flopped as debut singles shall, selling less than 300 copies, and the label bailed. Eric Wrixon left the band before the single was released and floated around Europe before eventually rejoining his previous band Them. Thin Lizzy were now evolving into a guitar-based power trio on the template of Cream, Ten Years After, or The Jimi Hendrix Experience.

Lizzy was being managed at this time by Terry O’Neill, who was finding it difficult to stump up the necessary cash to keep the band buoyant. He approached a local music shop owner named Brian Tuite about co-managing the band, but in the event, Tuite teamed up with Peter Bardon, who provided the financial clout, to take on the job. Tuite was friends with one of Decca’s A&R men, and arranged for him to come and view a soul singer named Ditch Cassidy – but replaced Cassidy’s usual backing band with Thin Lizzy. Decca signed Cassidy to one of their subsidiaries to do a single, but Lizzy ended up with a full recording contract. Thanks to Tuite, it was the start of the big adventure, as they relocated to London to record their debut album.

Thin Lizzy

Released: UK 30 April 1971, US 14 July 1971

Label: Decca (London in US)

Recorded at: Decca Studios, West Hampstead, London, January 1971

Philip Lynott: Vocals, bass guitar, rhythm guitar, acoustic guitar

Eric Bell: Lead guitar, twelve-string guitar

Brian Downey: Drums, percussion

Ivor Raymonde: Mellotron on ‘Honesty Is No Excuse’

Produced by: Scott English

Album duration: 39 minutes

This album did not chart

Recorded over the course of five days at Decca’s West Hampstead studio, in a smoky haze of dope as was de rigeur at the time, Thin Lizzy’s debut long-player was released on 30 April 1971, with the band name corrected to the current spelling. Radio 1’s ever-reliable mentor of new talent John Peel contributed some airplay, and Radio Luxembourg’s Kid Jensen got right behind it immediately, but there are few if