Thin Lizzy – Thin Lizzy

Decca

1971

On the 30th of April 1971, legendary Irish rockers Thin Lizzy released their debut studio album to generally favorable reviews. Casual fans of the band may point to 1973’s stunning Vagabonds of the Western World as the real starting point of the band, owning to the release before and around the same time of that record of the “Whiskey in the Jar” and “The Rocker” singles respectively. However, Lizzy had already been a going concern for over two years at that point and was slowly but surely honing their craft and while the twin guitar attack – the tried and true Lizzy template, would not appear until 1974’s Nightlife with the addition of Brian Robertson and Scott Gorham, on Thin Lizzy there was more than enough evidence that this was a band that could not only write good songs but could rock hard in a live setting as well largely owning to the glorious psychedelic playing of original guitarist Eric Bell.

Thin Lizzy in ’71 where the classic rock three-piece template; Phil Lynott on bass, the criminally underrated Brian Downey on drums and the aforementioned Belfast native Eric Bell. A brief flirtation with a keyboard player called Eric Wrixton was eschewed because of financial constraints (although keys would feature heavily in later albums) and the young band from Ireland were determined to make a name for themselves, no matter the cost. Lizzy were already earning something of a reputation in Ireland for their barnstorming live sets and were easily packing out venues across the country as Bell states; “our ambition at the time was to get a reputation as a really good musical band. It was basically a little band and that was it. Suddenly we got rated as one of the brightest hopes everywhere…it was around then we started to realize that something was happening”. All the band needed was a record deal, but there was none forthcoming until a curious turn of events involving Lizzy’s manager at the time. Brian Tuite who had recently taken over management of the band had heard that a representative from Decca Records was travelling to Dublin to check out a singer by the brilliant name of Ditch Cassidy for a possible record deal and knowing that there was a slight problem (Ditch didn’t have a backing band) politely suggested Lizzy to provide the backing music. So transfixed was the rep by the band fronted by a “black Irishman” that the man from Decca ended up signing Lizzy instead. The rest is history.

Frantically recorded between 4th and 9th of January 1971 at Decca Studios in West Hampstead and ‘produced’ by Scott English; “We were totally bombed for the duration of that record” recalls Bell “…English turned up with this enormous bag of grass. We ended up on the moon”, Thin Lizzy kicks thing off with the intriguingly titled “The Friendly Ranger At Clontarf Castle” beginning with a bongo like tom pattern from Downey accompanied by a monologue of sorts from Lynott with suitably trippy guitar swathes from Bell; for the causal fan, this is quite a different sound to anything off of Jailbreak and it is this otherworldly fantastical soundscape that would come to define the Bell era Lizzy. The track kicks of proper with a grooving bass riff with syncopated drums and washed out guitar with sincere autobiographical lyrics from Lynott before and entirely unsure rest in the track leading into an extended outro jam. The song is a charming, memorable, fascinating glimpse into the songwriting of the band at the time, especially Lynott’s and while it is far from the best track Lizzy ever wrote, all the essential ingredients are there.

Next up is “Honesty Is No Excuse” a line Metallica would modify for their track Damage INC to “honesty is my only excuse” on their 1986 record Master of Puppets. This track however is markedly more mellow, beginning with pensive strummed guitar from Bell and Lynott showcasing his impressive vocal range with a kind of Van Morrison hero-worship throughout. Essentially a track rooted in the Morrison blues school of rock and the song is a pleasant enough ballad esque affair and a recurring theme for all Lizzy records from here on out. “Diddy Levine” follows with more wistful guitar and percussion from Downey with Lynott in full on story mode extolling the variables of young love and lost opportunities. The track however really takes off after the songs bridge section with an excellent extended solo from Bell with a riff that will get stuck in your head before a maudlin ending with Lynott finishing up his tale of the sad and lonely Diddy Levine. Next up is “Ray Gun” and it is something of an Eric Bell showpiece beginning with a Hendrix infused guitar riff with suitably spacey lyrics from Lynott and a high-pitched yelp in the chorus sections. The track groove along like it’s nobodies business and doesn’t outstay its welcome. “Look What The Wind Blew In” follows and it is one of the strongest tunes on Thin Lizzy beginning with a jaunty bluesy riff and syncopated drums with Lynott in fine form vocally (It is interesting to note his vocal progression throughout the course of the record as he becomes more comfortable) before leading into a catchy chorus section. The track is a fun bouncy tune and although it is only a fraction as innovative as future compositions, it is clear to the listener that the band has already honed their songwriting craft, which would only get better in time.

Always a man proud of his roots “Eire” is Lynott’s love letter to his native country; a theme which would re occur on at least several occasions throughout the band’s career. Beginning with a Celtic infused riff Lynott solemnly gives the listener a brief history lesson in ancient Irish history and a brief lesson it is; “Eire” is just a mere 2′ 08′ long. Next up is “Return Of The Farmer’s Son” beginning with an excellent bluesy riff from Bell and heavy driving bass from Lynott which ever so slightly hints at the band more embryonic heavy side. The track is not a bad one per se, but feels more like a collection of good ideas bolted together rather than a fully cohesive track; it is certainly the most experimental song on Thin Lizzy but lacks a certain direction. “Clifton Grange Hotel” serves as an ode to Lynott’s mothers hotel in Manchester England. Thin Lizzy is a deeply personal record and this track is no different. Lynott as a child (he was raised by his grandparents in Dublin) and later in life would often visit his mother Philomena in Manchester and this track recollects his memories of a rather bonhomie establishment which catered for those in the entertainment business with lyrics such as “Pack up your bags, leave family society, oh come with me where they treat you well…at the top you’ll find another brother , go ask my Mother she knows them all very well hotel”. The track is another brief exposition and is musically fine if nothing more than an extended jam. Next up is “Saga Of The Ageing Orphan” a suitably maudlin sounding track with spare guitar and stripped back percussion held together by Lynott’s pensive bass. Lyrically it’s more of the same, figures from Lynott’s formative years re imaged into abstract characters. The track is a charming one and reveals a softer side to Lynott’s writing which would remain a feature throughout his career. Thin Lizzy ends with “Remembering” (I am reviewing the release as it original appeared in 1971 and not the expanded later editions) another wholly pensive introspective track. It is interesting to not that this record is split evenly into two distinct parts. The original A side, as it were, the more ferocious and driven whilst side B more introspective and brooding. Beginning with a drum roll from Downey and jangly guitar with Lynott recalling times past with old friends and acquaintances before a more driven memorable chorus section before one last flamboyant solo from Bell before the track turns on a dime and becomes one last frantic extended jam. The track is a fine way to finish what has been a mostly excellent debut record.

Thin Lizzy is a fascinating glimpse into the formative years of what would become one of the greatest rock bands of the 70’s and 80’s and an inspiration to countless more down through the decades. It is a shame that this record, rough around the edges as it may be, does not get more recognition from fans which is understandable enough given the band has such a vast back catalog ranging from good to excellent. I feel it is something of a ‘lost’ record and a perceived poor relation to the Robertson/Gorham era records. Nonetheless, you can’t argue with the level of musicianship and songwriting even if by times it is somewhat primal and the record as a whole rocks and soothes in equal measure. If you missed this record back in the day when you first got into Lizzy or just haven’t heard it a while do return to it again; there’s a lot to love here and it is the musical birth of a true icon.

Works Cited: Putterford, Mark., Phil Lynott: The Rocker, Omnibus Press, London, 2002.