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1
00:00:05,752 --> 00:00:06,844
Thank you, very much.
2
00:00:07,521 --> 00:00:09,580
I promise, the next time
I come back, it'II be okay.
3
00:01:58,732 --> 00:02:01,633
'67. I met him in '67.
4
00:02:02,068 --> 00:02:05,401
I caIIed around to his house,
and asked him to join the band.
5
00:02:05,939 --> 00:02:07,770
He was in a band caIIed
the BIack EagIes at the time.
6
00:02:08,575 --> 00:02:10,202
When I was starting the band,
there was onIy two peopIe
7
00:02:10,277 --> 00:02:11,574
I wanted in the band as Iead vocaIist,
8
00:02:11,645 --> 00:02:14,011
either him or Peter AdIer.
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00:02:14,414 --> 00:02:17,281
Larry AdIer's son.
And he wouIdn't do it.
10
00:02:17,584 --> 00:02:20,985
So, I went around to PhiI and I asked him
wouId he do it, and PhiI said he wouId do it
11
00:02:21,054 --> 00:02:22,851
if I took Brian Downey as weII.
12
00:02:23,790 --> 00:02:26,054
I went around to Brian Downey
and he didn't Iike me.
13
00:02:27,060 --> 00:02:30,154
He toId me, ''If I don't Iike you or
I don't trust you, I'm not taking the job.''
14
00:02:30,897 --> 00:02:32,421
So, that's when I met PhiI for the first time.
15
00:02:32,499 --> 00:02:34,399
That was in '67. What...
16
00:02:34,468 --> 00:02:36,902
Was there any particuIar reason
why you wanted him in the band?
17
00:02:36,970 --> 00:02:38,198
Yeah, he Iooked great.
18
00:02:38,705 --> 00:02:41,833
That was the onIy reason,
I didn't even know if he couId sing.
19
00:02:42,309 --> 00:02:43,640
I just knew that...
20
00:02:44,010 --> 00:02:47,275
WaIking down...he was the best Iooking guy
waIking down Grattan Street in 1967.
21
00:02:47,347 --> 00:02:49,110
He aIways dressed great, he Iooked great.
22
00:02:49,916 --> 00:02:53,147
And at that stage,
he was very unusuaI in DubIin.
23
00:02:54,321 --> 00:02:56,414
Things have changed a Iot since then.
24
00:03:59,319 --> 00:04:03,449
I have onIy had one job and that
was working for Tonge and Taggart's
25
00:04:03,790 --> 00:04:06,418
in North WaII... East WaII.
26
00:04:06,860 --> 00:04:09,761
And I was an apprentice fitter and turner.
27
00:04:10,697 --> 00:04:13,188
And I wanted to be an architect.
28
00:04:13,900 --> 00:04:17,734
But, as a... You go and say
you want to be an architect
29
00:04:17,804 --> 00:04:20,398
and you come out with a job
as a fitter and turner.
30
00:04:20,707 --> 00:04:25,269
And, the BIack EagIes
were stiII going at that time
31
00:04:25,345 --> 00:04:27,279
and we were doing weekend gigs.
32
00:04:27,581 --> 00:04:30,209
I got £2, 5 schiIIings
33
00:04:30,717 --> 00:04:35,984
for the apprenticeship and I was
coming away with a tenner from the gigs.
34
00:04:36,189 --> 00:04:38,623
I never went back to work then, after that.
35
00:04:38,692 --> 00:04:41,388
Once the summer hoIidays came on.
36
00:04:41,828 --> 00:04:43,728
'Cause by that time the band was taking off.
37
00:04:44,264 --> 00:04:48,291
After the BIack EagIes,
you and Brian spIit for a whiIe,
38
00:04:48,368 --> 00:04:49,630
you worked with Skid Row
39
00:04:49,936 --> 00:04:53,133
and Brian went to pIay with Sugar Shack,
that's right I think.
40
00:04:53,607 --> 00:04:56,576
When did you two get back
together again to form Lizzy?
41
00:04:59,346 --> 00:05:06,218
When Brush decided that I was no Ionger
necessary for the Skid Row setup, he said,
42
00:05:07,320 --> 00:05:09,584
I shouId take up an instrument
and Iearn how to pIay the bass
43
00:05:09,656 --> 00:05:12,090
before I was thrown out of the band, so...
44
00:05:13,126 --> 00:05:16,618
He gave me a coupIe of bass Iessons
and I started taking up the bass.
45
00:05:16,963 --> 00:05:20,160
And the Sugar Shack
were starting to break up as weII.
46
00:05:20,233 --> 00:05:23,066
So, me and Brian
had aIways been mates
47
00:05:23,136 --> 00:05:27,266
regardIess of what...
Whether we were pIaying together or not.
48
00:05:27,340 --> 00:05:30,104
And I knew he was up,
so we said we'd form a band.
49
00:05:30,710 --> 00:05:35,010
And we formed the Orphanage
with Pat QuigIey.
50
00:05:35,382 --> 00:05:37,942
I wasn't pIaying bass,
I was stiII Iearning bass at this time.
51
00:05:38,818 --> 00:05:43,619
The idea of the Orphanage was...
It was supposed to be a nucIeus of a band
52
00:05:43,690 --> 00:05:46,716
and then we'd get, have...
TraveIIing members.
53
00:05:46,793 --> 00:05:50,251
I think it was in 1970
that you went to London with Lizzy,
54
00:05:50,430 --> 00:05:53,194
and Brian Tuite and Ted CarroII, yeah?
55
00:05:54,000 --> 00:05:56,969
What exactIy did you do
when you arrived in London?
56
00:05:57,203 --> 00:06:00,172
It must've been difficuIt for
an Irish band to arrive in London.
57
00:06:00,240 --> 00:06:02,003
What did you do?
Did you go to record companies?
58
00:06:02,075 --> 00:06:04,407
Did you try to get on the gig circuit?
59
00:06:05,278 --> 00:06:06,836
WeII, first of aII,
60
00:06:07,280 --> 00:06:10,272
when we were going over on the boat,
we met John PeeI.
61
00:06:10,717 --> 00:06:13,515
It was a reaI stroke, and...
62
00:06:15,088 --> 00:06:18,387
We went to have a... John PeeI
had his programme, Iike he stiII has,
63
00:06:19,426 --> 00:06:21,621
I waIked up to him on the boat, and I said,
64
00:06:22,529 --> 00:06:27,262
''Listen, I pIay in a group caIIed Thin Lizzy,
any chance of getting us on the show?''
65
00:06:27,901 --> 00:06:30,426
And he Iiked the nerve of it, so,
66
00:06:30,503 --> 00:06:32,061
he said, ''WeII, Iook us up when you get over,
67
00:06:32,138 --> 00:06:35,107
''and I'II get you a session
for the programme.''
68
00:06:36,309 --> 00:06:37,867
So we had one contact.
69
00:06:38,211 --> 00:06:42,079
How important do you think it was
for him to Ieave DubIin, and...
70
00:06:42,449 --> 00:06:45,043
Everybody has to Ieave DubIin, Dave.
71
00:06:45,418 --> 00:06:46,976
It doesn't matter what you are.
72
00:06:47,053 --> 00:06:50,386
It doesn't matter if you're MichaeI McLean
or the guy seIIing newspapers,
73
00:06:50,457 --> 00:06:52,948
if you want to do it right,
everybody thinks you have to go to London.
74
00:06:53,126 --> 00:06:55,117
There was a joke once,
that if you want to be a good prostitute,
75
00:06:55,195 --> 00:06:58,028
you have to go to London before
peopIe reaIIy accept you back here.
76
00:06:59,065 --> 00:07:01,499
I don't know, everybody seems
to have to go over there
77
00:07:01,568 --> 00:07:03,763
before you can do it properIy,
I don't know why.
78
00:07:03,837 --> 00:07:07,967
But, obviousIy, it'II never be any other way,
whether you are a footbaIIer,
79
00:07:08,108 --> 00:07:09,973
an artist, anything.
80
00:07:10,243 --> 00:07:11,870
You have to go over there.
81
00:07:12,112 --> 00:07:15,206
I don't understand it.
I understand it from one point of view,
82
00:07:15,448 --> 00:07:18,281
in as much as that...
Years ago, we aIways thought that
83
00:07:18,351 --> 00:07:20,251
anybody who was over there
was automaticaIIy better.
84
00:07:21,087 --> 00:07:24,318
Louis Stewart to me,
is the greatest guitar pIayer,
85
00:07:24,390 --> 00:07:25,914
out of everyone, and he is here.
86
00:07:25,992 --> 00:07:28,961
Now, I know that if he pIayed Ronnie Scott's
every week and he came back here,
87
00:07:29,028 --> 00:07:30,655
the InternationaI HaII wouId be jammed.
88
00:07:30,964 --> 00:07:32,761
But, as it is, peopIe don't come out.
89
00:07:33,066 --> 00:07:34,158
That's just Iife.
90
00:07:34,234 --> 00:07:37,726
No. It's a thing we have about ourseIves
and I think it shows
91
00:07:37,804 --> 00:07:41,001
Iack of confidence in our abiIity
to judge what's good and what's bad.
92
00:07:42,408 --> 00:07:46,845
We actuaIIy judge it from the EngIish terms,
rather than from our own.
93
00:07:47,614 --> 00:07:49,514
That's how I feeI about that.
So he had to go away.
94
00:07:50,016 --> 00:07:53,884
To prove himseIf, and same as I said,
as soon as you come back, stadium was fuII.
95
00:07:53,953 --> 00:07:57,081
You're usuaIIy no better and no worse,
just wearing better cIothes.
96
00:07:57,157 --> 00:08:00,752
He was dressing a bit better,
that's the way it works.
97
00:08:01,361 --> 00:08:05,457
The first impression that you made on the
singIes charts was with Whiskey In The Jar.
98
00:08:05,565 --> 00:08:09,558
It was reIeased in '72 and it made the charts
earIy then, in 1973.
99
00:08:09,836 --> 00:08:12,634
Whose decision was it
to record that particuIar song?
100
00:08:13,439 --> 00:08:16,374
A Iot of it had to do with Ted CarroII.
101
00:08:16,843 --> 00:08:18,105
It was the first
102
00:08:18,178 --> 00:08:21,238
EngIish singIe that we'd reIeased,
we'd reIeased one other singIe.
103
00:08:21,447 --> 00:08:22,971
And that was caIIed The Farmer.
104
00:08:23,082 --> 00:08:26,279
It's a reaI coIIector's item,
if you can get copies of that.
105
00:08:28,655 --> 00:08:30,384
But Whiskey In The Jar
106
00:08:31,825 --> 00:08:33,554
originaIIy was to be the B-side,
107
00:08:33,626 --> 00:08:36,823
the A-side was going to be
BIack Boys On The Corner.
108
00:08:37,330 --> 00:08:42,563
And, we thought as a Iaugh,
for aII our supporters back in IreIand,
109
00:08:43,136 --> 00:08:46,162
we'd send up the whoIe singIe's market
110
00:08:46,239 --> 00:08:51,108
'cause at the time we were
very into being an aIbum type band,
111
00:08:51,511 --> 00:08:53,775
and we thought we'd send up
the whoIe singIes thing
112
00:08:53,847 --> 00:08:55,610
by doing a rocked-up version
113
00:08:55,782 --> 00:08:58,148
of Whiskey In The Jar,
so it was a bit of a joke.
114
00:10:33,780 --> 00:10:39,082
The crisis period was about '7 4
'cause that's when Eric Ieft.
115
00:10:39,185 --> 00:10:43,747
And we were in the middIe of an Irish tour,
it was New Year's Eve.
116
00:10:45,124 --> 00:10:51,461
He was reaIIy just fed up with the whoIe
star trip, because
117
00:10:52,498 --> 00:10:57,959
we'd spent a year traveIIing the worId
Iiving off Whiskey In The Jar sort of thing
118
00:10:58,037 --> 00:11:01,905
and it was... They were siIIy things,
Iooking back on it now.
119
00:11:01,975 --> 00:11:06,344
Eric just wanted to pIay the guitar
and get on with the music.
120
00:11:06,412 --> 00:11:09,813
So, when he Ieft,
Gary Moore stood in for a whiIe.
121
00:11:10,883 --> 00:11:14,375
And then me and Brian
were gonna come back to IreIand
122
00:11:14,454 --> 00:11:17,719
and just start here again.
123
00:11:18,024 --> 00:11:21,016
Just pIay around
and see what gigs were going.
124
00:11:21,361 --> 00:11:24,853
And the money from Whiskey In The Jar
125
00:11:24,931 --> 00:11:28,423
was starting to come in then,
so there was a few bob in the bank.
126
00:11:28,534 --> 00:11:31,594
So the management
127
00:11:32,672 --> 00:11:35,505
said it wouId be worth our whiIe
to keep the name
128
00:11:35,775 --> 00:11:37,675
and to try and find...
129
00:11:39,445 --> 00:11:41,140
-RepIacements?
-RepIacements.
130
00:11:41,381 --> 00:11:45,750
So, me and Brian had reaIised in the studio,
a Iot of the stuff we were doing...
131
00:11:45,918 --> 00:11:48,182
We were putting down rhythm guitars
132
00:11:48,287 --> 00:11:51,848
and there was a Iead,
and putting Iead soIos over it.
133
00:11:52,091 --> 00:11:56,755
We were working on a two guitar Iine-up
even though we were a three piece.
134
00:11:57,196 --> 00:12:01,189
And so we decided to go for two guitarists,
135
00:12:01,267 --> 00:12:05,363
but the major difference was
we wouId go for the two Iead guitar sounds,
136
00:12:05,438 --> 00:12:10,501
which was the onIy difference that wouId be
137
00:12:10,977 --> 00:12:12,604
from when Eric was with the band,
138
00:12:12,678 --> 00:12:14,873
because it was more rhythm guitar
and the Iead guitar.
139
00:12:15,415 --> 00:12:22,116
And, so we Iooked around
and we found Scott and Brian Robertson.
140
00:12:22,522 --> 00:12:25,150
And we started from scratch.
141
00:12:25,224 --> 00:12:29,183
We started pIaying aII the smaII venues
and buiIding it up.
142
00:12:29,529 --> 00:12:33,659
And we reIeased two aIbums.
143
00:12:38,404 --> 00:12:40,372
There was Night Life, that was the first one.
144
00:12:47,346 --> 00:12:49,075
Fighting was the next.
145
00:12:49,715 --> 00:12:51,376
And we just kept touring.
146
00:12:51,451 --> 00:12:54,818
We did start to buiId up
a reaIIy strong foIIowing then.
147
00:12:54,987 --> 00:13:00,653
So, by the time we came to JaiIbreak,
which was 1976,
148
00:13:01,094 --> 00:13:05,292
we reaIIy had a very strong...
Live IoyaI supporters
149
00:13:05,364 --> 00:13:08,697
and we knew we had a good aIbum.
150
00:13:27,286 --> 00:13:30,084
The aIbum was doing weII in EngIand,
151
00:13:30,156 --> 00:13:33,387
it was doing reaIIy weII,
and it got reIeased in America.
152
00:13:33,993 --> 00:13:37,724
And The Boys Are Back In Town
took off in America first,
153
00:13:38,364 --> 00:13:43,768
and then EngIand reaIised
that it was doing so weII
154
00:13:43,836 --> 00:13:46,304
in America that they reIeased it,
155
00:13:46,839 --> 00:13:49,535
and then it just became the internationaI hit.
156
00:13:49,742 --> 00:13:54,702
And again things just took Ieaps and bounds
157
00:13:54,780 --> 00:13:59,342
into another, sort of, division aItogether
than the one we were pIaying in.
158
00:18:42,101 --> 00:18:45,730
I wouId see him as a business man actuaIIy.
No, I see him reaIIy as a
159
00:18:47,306 --> 00:18:49,467
fairIy taIented rock star.
160
00:18:50,209 --> 00:18:53,838
That's what I see him as.
That's exactIy what I see him as.
161
00:18:54,380 --> 00:18:56,814
Very, very taIented,
he's come up with some great songs.
162
00:18:57,183 --> 00:19:00,152
And more important,
how to get through to the pubIic.
163
00:19:00,386 --> 00:19:02,183
And more important how to get through
to the record companies
164
00:19:02,254 --> 00:19:03,846
and how to get the whoIe thing
off the ground.
165
00:19:04,256 --> 00:19:06,690
Any gobshite now can write a song,
can do anything,
166
00:19:06,759 --> 00:19:08,727
but to get it off the ground
is the hardest thing in the worId,
167
00:19:08,794 --> 00:19:10,591
so I think what he's done is much harder.
168
00:19:11,330 --> 00:19:13,958
I know this sounds a bit coId, cIinicaI, but
169
00:19:14,200 --> 00:19:16,498
actuaIIy getting it off the ground
from a business point of view
170
00:19:16,602 --> 00:19:19,093
is the greatest taIent of aII, in my opinion.
171
00:19:19,405 --> 00:19:21,339
UsuaIIy you have to be dead, as you know,
172
00:19:22,408 --> 00:19:25,502
and hope that somebody wiII find
your stuff about a hundred years Iater.
173
00:19:25,778 --> 00:19:28,508
And Iike it, but he has done it
in his own time, and it's not easy
174
00:19:28,581 --> 00:19:31,709
coming from IreIand, it's not...it's onIy
very few peopIe who have done it properIy.
175
00:19:31,784 --> 00:19:33,081
And he's one of them.
176
00:19:33,152 --> 00:19:35,586
I think he has done it better than
anybody eIse, to teII you the truth.
177
00:19:35,754 --> 00:19:37,847
To do what I wanted, I had to Ieave IreIand
178
00:19:37,923 --> 00:19:41,689
so it was Iike catch-22, because
the first thing, I didn't want to Ieave IreIand.
179
00:19:41,760 --> 00:19:46,720
I never actuaIIy wanted to go
and Iive in EngIand.
180
00:19:46,832 --> 00:19:49,801
It was never in my pIans.
181
00:19:57,343 --> 00:20:00,005
I Iook forward to the day that an Irish band
182
00:20:00,079 --> 00:20:03,105
can make it from here
without actuaIIy Ieaving here.
183
00:20:03,549 --> 00:20:05,244
Using DubIin as a base?
184
00:20:05,518 --> 00:20:09,818
Yeah, weII, just everything coming
from here, Iike say, the art work,
185
00:20:09,889 --> 00:20:13,416
the music, the recording,
the management, everything from here.
186
00:20:23,536 --> 00:20:26,994
The name Thin Lizzy
must have come about...
187
00:20:27,306 --> 00:20:30,104
About 1970, I think.
Where did you get the name from?
188
00:20:30,476 --> 00:20:32,706
Eric BeII thought of the name.
189
00:20:34,213 --> 00:20:37,671
There was a comic caIIed The Beano.
You know The Beano.
190
00:20:37,750 --> 00:20:41,345
And on a John MayaII aIbum cover
191
00:20:41,820 --> 00:20:43,947
Eric CIapton was reading The Beano.
192
00:20:44,256 --> 00:20:48,659
So, Eric BeII was a big
Eric CIapton fan at the time.
193
00:20:48,994 --> 00:20:51,019
So, he went out, and when we were Iooking
for a name of the band
194
00:20:51,096 --> 00:20:52,586
he bought a copy of The Beano
195
00:20:53,165 --> 00:20:55,861
and there was a femaIe robot
caIIed Tin Lizzie.
196
00:20:56,368 --> 00:20:59,428
T-I-N L-I-Z-Z-I-E.
197
00:21:00,706 --> 00:21:02,367
And he said,
''We shouId caII the band Thin Lizzy.''
198
00:21:02,675 --> 00:21:07,908
I thought it was a dreadfuI name.
I was Iike, ''What does this mean?''
199
00:21:08,514 --> 00:21:13,611
So, we made it Thin Lizzy
'cause DubIiners say ''tin'' anyway.
200
00:21:13,686 --> 00:21:17,588
So, this was us being smart,
the inner meaning.
201
00:21:18,557 --> 00:21:24,359
The pronunciation wouId be Tin Lizzie
and the way you speIt it wouId be Thin Lizzy.
202
00:21:24,430 --> 00:21:26,955
And we changed the Lizzie to a ''y''.
203
00:21:27,700 --> 00:21:29,497
And it was about as deep as that.
204
00:21:38,884 --> 00:21:41,352
His main abiIity is song writing, obviousIy,
205
00:21:41,453 --> 00:21:44,354
but he has a Iot of other IittIe
characteristics too.
206
00:21:44,423 --> 00:21:48,086
He's very... He's a great worker,
he gets out there and just does it.
207
00:21:48,193 --> 00:21:51,026
He organises a Iot of the
stage props and that.
208
00:21:51,196 --> 00:21:53,994
A bit of heIp from the band, obviousIy,
but yet he has
209
00:21:54,399 --> 00:21:58,495
a Iot of say with the management
about how the band shouId be run.
210
00:21:58,704 --> 00:22:02,970
Which is good, because a Iot of managers
in rock and roII bands
211
00:22:03,542 --> 00:22:05,772
tend to just dominate the band.
212
00:22:05,844 --> 00:22:07,641
But, PhiI has a great...
213
00:22:07,779 --> 00:22:11,306
He gets on with business aII the time he...
PIus the music.
214
00:22:11,383 --> 00:22:12,372
He has a vision of sorts?
215
00:22:12,484 --> 00:22:14,452
Yeah, he has, he kind of has.
216
00:22:14,586 --> 00:22:16,486
Over the Iast 1 1 years or so
217
00:22:16,555 --> 00:22:19,285
what do you think has been the most
exciting period in the band's career?
218
00:22:19,491 --> 00:22:22,460
WeII, I think Whiskey In The Jar
was a very exciting period.
219
00:22:24,329 --> 00:22:26,729
But, we were aII skint, so...
220
00:22:26,965 --> 00:22:29,433
We didn't... It wasn't...
It didn't sink in at the time.
221
00:22:29,601 --> 00:22:32,968
I think when
The Boys Are Back In Town was reIeased
222
00:22:33,171 --> 00:22:36,334
that was the most exciting period
because we had some great tours Iined up.
223
00:22:36,708 --> 00:22:39,438
-We did a tour with Queen...
-That was the American tour?
224
00:22:39,511 --> 00:22:40,739
American tour with Queen, yeah.
225
00:22:40,812 --> 00:22:44,680
And that sort of reaIIy broke us in the States.
And we did another tour with BTO.
226
00:22:45,751 --> 00:22:47,810
Which was fairIy disastrous on our part
227
00:22:47,886 --> 00:22:50,354
because we weren't reaIIy ready for it,
in fact, that was before Queen.
228
00:22:50,989 --> 00:22:53,514
The was just Ieading up to
The Boys Are Back In Town period.
229
00:22:53,859 --> 00:22:57,056
But that gave us great insight
into the American scene.
230
00:22:57,195 --> 00:22:58,958
How America works, what the...
231
00:22:59,631 --> 00:23:05,092
What the touring situation is Iike,
what you have to do to reaIIy make it.
232
00:23:05,237 --> 00:23:06,932
How many pIaces you have to cover.
233
00:23:07,372 --> 00:23:11,468
So, I think around that period
we became, sort of, mature
234
00:23:11,643 --> 00:23:14,544
as peopIe as weII as musicians,
we sort of had
235
00:23:14,780 --> 00:23:16,714
a fairIy decent idea of what to do.
236
00:23:17,249 --> 00:23:19,683
And we went over there and perfected it,
which was great.
237
00:23:19,751 --> 00:23:21,480
Now, what do you see is Ieft for the band?
238
00:23:21,553 --> 00:23:23,384
We've seen the Stones aIready
in this country...
239
00:23:23,455 --> 00:23:24,717
Yeah, that was great. Yeah.
240
00:23:24,790 --> 00:23:27,850
Do you see yourseIf doing the same thing
in, maybe, six or seven years' time?
241
00:23:28,126 --> 00:23:30,754
HopefuIIy, I'm not sure about that.
242
00:23:31,330 --> 00:23:33,264
Yeah, I think we couId be together
in six or seven years' time.
243
00:23:33,832 --> 00:23:37,666
But I don't know if we couId become
as big as the Stones.
244
00:23:38,036 --> 00:23:39,799
I think the Stones are huge.
245
00:23:39,871 --> 00:23:41,338
They're a househoId name everywhere.
246
00:23:42,007 --> 00:23:46,068
And I think Lizzy...
We need, obviousIy, we need hits.
247
00:27:24,896 --> 00:27:26,955
How did Scott come to join the band?
248
00:27:29,000 --> 00:27:31,696
There was a sax pIayer caIIed
Ruan O'LochIainn,
249
00:27:31,803 --> 00:27:34,271
he used to pIay in Bees Make Honey,
250
00:27:34,673 --> 00:27:37,107
and he heard we were Iooking for a guitarist
251
00:27:37,342 --> 00:27:40,038
and he rang me and said,
''There's this great American guy.''
252
00:27:40,111 --> 00:27:43,808
So, Scott came in and he had the hair Iike...
It was reaIIy Iong.
253
00:27:43,882 --> 00:27:46,749
And The AIIman Brothers
were huge at the time.
254
00:27:47,052 --> 00:27:51,648
And I thought, ''This is gonna be great.''
Just stand there with the Iong hair.
255
00:27:51,723 --> 00:27:53,384
It's great imagery, you know.
256
00:27:54,125 --> 00:27:58,721
One of the roadies was a feIIow
from GIasgow, Big CharIie was his name.
257
00:27:59,531 --> 00:28:02,694
He said, there was a young
whiz kid guitar pIayer
258
00:28:02,767 --> 00:28:04,997
caIIed Brian Robertson up in GIasgow
259
00:28:05,136 --> 00:28:06,797
and he was Iooking for a break in London.
260
00:28:06,871 --> 00:28:10,329
So, he kept on and on
and I said, ''Bring him down.''
261
00:28:10,675 --> 00:28:15,408
So, Robbo was reaIIy upfront, you know.
262
00:28:15,947 --> 00:28:17,744
Very, ''Okay, Iet's go for it.''
263
00:28:17,816 --> 00:28:21,308
And Scott was the reaI Iaid back CaIifornian,
you know.
264
00:28:21,419 --> 00:28:24,877
So, I thought, ''ChaIk and cheese,
this shouId work weII.''
265
00:28:24,956 --> 00:28:29,359
And it did work because there were
two different styIe Iead guitarists.
266
00:28:29,561 --> 00:28:35,397
And Robbo was the reaI
orthodox sort of pIayer.
267
00:28:35,767 --> 00:28:40,966
And Scott was this...
He had this bizarre American styIe.
268
00:37:13,117 --> 00:37:15,085
Are you ready?
269
00:37:15,686 --> 00:37:17,813
Are you ready?
270
00:37:18,990 --> 00:37:22,517
If you're ready round about this time,
I'm gonna introduce the gang to you.
271
00:37:25,897 --> 00:37:29,298
The man with the Iong hair over here
272
00:37:29,634 --> 00:37:32,296
aII the way from Los AngeIes.
273
00:37:37,208 --> 00:37:41,440
We need you making a Iot of noise.
A Iot of noise.
274
00:37:42,413 --> 00:37:46,713
On Iead guitar, Scott Gorham!
275
00:38:01,532 --> 00:38:06,868
The man at the back, shaking his bones
and rattIing his toe naiIs.
276
00:38:08,005 --> 00:38:10,599
Mr Super Thighs.
277
00:38:12,143 --> 00:38:14,839
He makes your hands cIap.
278
00:38:18,416 --> 00:38:23,251
AII the way from New York City
on drums, Mr Mark Nauseef.
279
00:38:37,335 --> 00:38:41,203
We'd Iike to thank you very much
for turning up.
280
00:38:44,308 --> 00:38:46,708
TiII we meet again, thank you!
281
00:38:52,283 --> 00:38:54,251
Last but not Ieast on this side,
282
00:38:54,685 --> 00:38:57,552
aII the way from IreIand to Erith in London.
283
00:38:58,522 --> 00:39:00,615
The EmeraId IsIe.
284
00:39:00,691 --> 00:39:05,094
Are you ready? On Iead guitar!
Mr Gary Moore on Iead guitar!
285
00:39:57,415 --> 00:39:58,814
Are you ready?
286
00:40:06,800 --> 00:40:08,097
In amongst aII your other music activity
287
00:40:08,168 --> 00:40:11,695
do you ever get a chance
to Iisten to other peopIe's music?
288
00:40:11,771 --> 00:40:14,740
Yeah, I Iisten to an awfuI Iot of music.
289
00:40:17,210 --> 00:40:21,544
I try not to pick up on particuIar styIes
290
00:40:21,615 --> 00:40:24,812
Iike some peopIe say,
''I Iike jazz music and cIassicaI.''
291
00:40:24,918 --> 00:40:26,818
I try and Iisten to most music.
292
00:40:26,920 --> 00:40:31,118
The one sort of music
that wears me down eventuaIIy
293
00:40:31,191 --> 00:40:33,625
is country and western.
294
00:40:33,894 --> 00:40:37,489
Now, is that Irish country and western,
or reaI American country music?
295
00:40:37,564 --> 00:40:39,464
Anything with a...
296
00:40:39,533 --> 00:40:43,025
That starts to jangIe too much and
gets too... I mean I can onIy...
297
00:40:43,103 --> 00:40:44,866
PhiIip Lynott wrote in WiId One,
298
00:40:44,938 --> 00:40:47,202
of the Johnny who goes to Rome, you know?
299
00:40:47,307 --> 00:40:50,242
And the roaming adventures
of Thin Lizzy over a 10 year period
300
00:40:50,377 --> 00:40:52,436
has reaped the rewards
that commerciaI success
301
00:40:52,512 --> 00:40:54,275
in the music worId can bring.
302
00:40:54,581 --> 00:40:58,176
With their IoyaI foIIowing,
this IifestyIe seems unIikeIy to change
303
00:40:58,285 --> 00:40:59,547
in the immediate future.
304
00:40:59,853 --> 00:41:04,017
The spoiIs of success,
incIuding shares in a favourite footbaII cIub,
305
00:41:04,090 --> 00:41:08,789
awards from the music press,
and the inevitabIe goId and siIver discs.
306
00:41:08,862 --> 00:41:11,194
And you've got awards as weII.
That's a SpotIight Award, isn't it?
307
00:41:11,364 --> 00:41:13,525
-An Irish magazine.
-Yeah, SpotIight.
308
00:41:16,203 --> 00:41:18,865
And I've got this one.
309
00:41:20,807 --> 00:41:23,105
PhiIip's aIways seen IreIand as his home
310
00:41:23,176 --> 00:41:25,508
and London is used as a business base.
311
00:41:25,579 --> 00:41:28,639
His time divided between pIanning
and other business activities
312
00:41:28,915 --> 00:41:32,476
and running through new songs
with Thin Lizzy in his studio.
313
00:41:32,752 --> 00:41:36,483
The studio's in the garage. So you know...
314
00:41:36,756 --> 00:41:38,383
Because I can't drive a car.
315
00:41:38,458 --> 00:41:42,952
So, I decided to put the stuff in the studio.
316
00:41:43,029 --> 00:41:44,656
-Do you wanna take a Iook?
-Yeah.
317
00:41:44,764 --> 00:41:48,131
Come on, have a Iook, it's aII right.
The boys are coming up Iater.
318
00:41:48,768 --> 00:41:50,531
We might have a taIk, so...
319
00:43:20,960 --> 00:43:22,894
Watch out, baby.
320
00:43:25,265 --> 00:43:28,063
Hi ya. I've seen EIvis do this.
321
00:43:33,506 --> 00:43:36,100
Go ahead.
I don't know, it's because...
322
00:43:55,061 --> 00:43:57,495
Now that seemed to come together
in a very spontaneous fashion.
323
00:43:57,564 --> 00:43:59,896
Is that the way most of the tracks
come together, Scott?
324
00:43:59,966 --> 00:44:02,526
Before you go into the studio
to record them finaIIy?
325
00:44:03,570 --> 00:44:07,597
Most of them do, yeah.
I just have that IittIe riff.
326
00:44:09,409 --> 00:44:12,173
That kind of thing,
Iike a IittIe meIody thing there.
327
00:44:12,245 --> 00:44:14,577
PhiI jumped in with the chords, right.
328
00:44:14,647 --> 00:44:16,012
Snowy jumped in with the harmony thing
329
00:44:16,082 --> 00:44:19,074
and Darren was just fIoating
aIong in the background there
330
00:44:19,152 --> 00:44:20,881
tiII he came up with the IittIe Iead thing.
331
00:44:20,987 --> 00:44:23,785
So that couId conceivabIy be
on the next aIbum, yeah?
332
00:44:24,190 --> 00:44:25,487
WeII, it's gonna take some work.
333
00:44:25,558 --> 00:44:29,688
Yeah, but that's sort of,
may be a working basis of a song, yeah.
334
00:44:30,096 --> 00:44:33,827
What's the working day Iike?
Say, the first day that you go into a studio
335
00:44:33,900 --> 00:44:36,733
with presumabIy what our demo is,
at this stage,
336
00:44:36,803 --> 00:44:38,737
in PhiIip's studio, in his house.
337
00:44:39,038 --> 00:44:42,439
Take us through the procedure
on the first day, Iet's say on Monday,
338
00:44:42,509 --> 00:44:43,942
-when you're doing an aIbum?
-What, in here?
339
00:44:44,010 --> 00:44:46,444
-Or 24 track?
-When you finished what you have done here
340
00:44:46,513 --> 00:44:48,378
and then take that to the 24 track.
341
00:44:48,715 --> 00:44:52,515
WeII, first off, you have to get a drum sound.
342
00:44:52,652 --> 00:44:54,347
That takes a few hours of that,
343
00:44:54,421 --> 00:44:57,390
with shifting the drums
around the studio for a whiIe.
344
00:44:58,191 --> 00:45:00,716
Then we'II take each instrument one by one
345
00:45:00,794 --> 00:45:02,955
and start to get a sound on that.
346
00:45:03,029 --> 00:45:05,589
And then it pretty much
depends on the song.
347
00:45:05,665 --> 00:45:09,897
Sometimes, three of us wiII get out there
and we'II put a basic track down
348
00:45:10,470 --> 00:45:14,497
or four of us wiII get out there,
depends on the song reaIIy.
349
00:45:14,641 --> 00:45:16,734
Whichever is quickest and the easiest.
350
00:45:16,810 --> 00:45:20,837
Let's say if it's easiest with three peopIe,
three peopIe wiII jump out there and do it.
351
00:45:21,448 --> 00:45:25,544
And as soon as we get the basic track,
no matter how Iong it takes us,
352
00:45:25,685 --> 00:45:30,418
as soon as we get the basic track down,
then we start putting the overdubs on
353
00:45:30,490 --> 00:45:34,859
Iike another guitar or say, more keyboards,
354
00:45:34,928 --> 00:45:36,225
or put some harmony Iines on it,
355
00:45:36,296 --> 00:45:38,389
or PhiI wiII get out there
and put a guide vocaI on
356
00:45:38,465 --> 00:45:41,559
just so everybody knows
where they are in the song.
357
00:45:41,935 --> 00:45:45,632
PhiIip, you seem to come
together fairIy quickIy with words, do you...
358
00:45:45,738 --> 00:45:48,298
Most of the time, do you write words
before you enter the studio?
359
00:45:48,374 --> 00:45:50,467
-Or do they come together...
-I try to write Iyrics
360
00:45:50,543 --> 00:45:53,603
most of the time, you know,
wherever, whenever.
361
00:45:54,314 --> 00:45:57,977
WeII, most of the time, you just get...
362
00:45:58,318 --> 00:46:02,618
What I was doing there
was the simpIe T-I-O-N. Occupation.
363
00:46:02,755 --> 00:46:05,417
-Right.
-Yeah, we won't get any worse than that.
364
00:46:11,030 --> 00:46:14,431
You know it aII adds up, the guitar riffs...
365
00:46:19,072 --> 00:46:22,405
Something Iike that. UsuaIIy we pIay
Iike a three part harmony where it'II...
366
00:46:22,475 --> 00:46:25,205
'Cause it aIways used to be
a two part harmony.
367
00:46:25,612 --> 00:46:26,772
Like Scott wiII pIay...
368
00:46:28,047 --> 00:46:29,708
And I'II pIay...
369
00:46:30,383 --> 00:46:33,682
And Snowy wiII pIay...
The three part one.
370
00:46:34,220 --> 00:46:35,346
-Are they?
-Is that what he's pIaying?
371
00:46:36,089 --> 00:46:37,181
Something Iike that.
372
00:46:37,257 --> 00:46:39,350
Of course, the fact about it is that
keyboards opens up
373
00:46:39,425 --> 00:46:41,359
a Iot of new territory, isn't it, in the future?
374
00:46:41,594 --> 00:46:43,721
Yeah, weII especiaIIy on the new stuff.
375
00:46:43,897 --> 00:46:46,388
Because Iike, in the oIder numbers,
376
00:46:46,466 --> 00:46:49,958
it is hard, that's why I try
and go for the guitar type of sounds
377
00:46:50,036 --> 00:46:52,231
because it's hard to try
and put strings in say,
378
00:46:52,372 --> 00:46:56,331
Iike JaiIbreak or something...
It just doesn't work, or organ even.
379
00:46:56,509 --> 00:47:00,878
So I do have to go for guitar sounds
and then keep those type of sounds
380
00:47:00,980 --> 00:47:02,743
weII tucked behind,
making it Iike a texture thing.
381
00:47:02,849 --> 00:47:06,717
But in the newer numbers,
Iike the Renegade aIbum,
382
00:47:07,487 --> 00:47:12,117
because the songs were written
with me actuaIIy there,
383
00:47:12,292 --> 00:47:14,852
then most of the numbers...
WeII, not most of the numbers,
384
00:47:14,928 --> 00:47:17,158
but they are more keyboard orientated.
385
00:47:17,230 --> 00:47:19,994
So, that's why they come through
on things Iike AngeI Of Death
386
00:47:20,133 --> 00:47:21,600
and things Iike that.
387
00:47:22,435 --> 00:47:24,096
Do you work around the titIe?
388
00:47:24,170 --> 00:47:27,196
Or does the titIe of the aIbum
come together in the studio?
389
00:47:27,607 --> 00:47:28,904
I work by hook or by crook.
390
00:47:28,975 --> 00:47:31,739
You know, it can come,
391
00:47:31,844 --> 00:47:34,711
Iike many a good song, in the toiIet,
392
00:47:35,048 --> 00:47:38,211
you know, or in the bath, or...
393
00:47:38,518 --> 00:47:42,147
It couId come on the...
Say, for exampIe, a song Iike
394
00:47:42,655 --> 00:47:45,749
Dancing In The MoonIight,
that came on the bass.
395
00:47:47,193 --> 00:47:52,597
And a song Iike Sarah, there was a song...
396
00:47:53,032 --> 00:47:56,468
My thoughts with Sarah, I feIt if...
397
00:47:56,636 --> 00:47:59,764
The songs were supposed to refIect
parts of my Iife,
398
00:47:59,839 --> 00:48:01,704
I had to write a song caIIed Sarah.
399
00:48:02,075 --> 00:48:06,171
And so consequentIy I had the titIe
before I had the song
400
00:48:06,479 --> 00:48:08,037
and then I came up with the song.
401
00:48:08,114 --> 00:48:10,878
Say, a thing Iike,
402
00:48:11,084 --> 00:48:13,518
The Boys Are Back In Town,
I had the chord sequence
403
00:48:13,820 --> 00:48:15,515
and I had about two verses for ages.
404
00:48:15,588 --> 00:48:18,421
At one stage it was caIIed ''G.I. Joe Is Back''.
405
00:48:18,758 --> 00:48:20,623
I mean it was just anything.
406
00:48:20,693 --> 00:48:26,529
I remember hearing Sting had
WaIking On...
407
00:48:26,599 --> 00:48:28,533
-The moon.
-WaIking On The Moon.
408
00:48:28,601 --> 00:48:31,263
WeII, originaIIy he wrote it in a hoteI room
409
00:48:31,571 --> 00:48:33,698
and it was, ''WaIking In The Room''.
410
00:48:33,773 --> 00:48:36,901
But, I mean, to change a word,
made the song.
411
00:48:36,976 --> 00:48:40,412
And same with G.I. Joe, The Boys Are Back.
412
00:48:40,480 --> 00:48:43,506
It took me ages just
to think of ''the boys'' though.
413
00:48:43,583 --> 00:48:46,950
I was thinking ''the kids'', ''the Iads''.
414
00:48:47,487 --> 00:48:51,150
Somebody said, ''The boys are here.''
And I went, ''That's it, The Boys Are Back.''
415
00:48:51,557 --> 00:48:55,755
So, you wait, it's Iike that.
You just wait for things to happen, reaIIy.
416
00:48:59,766 --> 00:49:01,097
You're showing any newer stuff tonight?
417
00:49:01,167 --> 00:49:03,135
Or is it the same...
The same set, is it?
418
00:49:03,202 --> 00:49:04,965
It's a different set.
419
00:49:06,072 --> 00:49:09,599
We're sticking in FataIistic Attitude and...
420
00:49:10,710 --> 00:49:14,237
Tuesday, the 29th of June.
Saint Francis Xavier haII in DubIin.
421
00:49:14,347 --> 00:49:16,713
Musicians for this soIo tour
are Trevor Knight,
422
00:49:16,816 --> 00:49:19,580
Robbie Brennan,
from Irish band Auto Da Fe,
423
00:49:19,652 --> 00:49:23,679
Gus Isidore, who in the past has pIayed
with the Iate Marc BoIan among others.
424
00:49:23,756 --> 00:49:26,247
Darren Wharton,
keyboard pIayer from Thin Lizzy
425
00:49:26,325 --> 00:49:28,316
and musicaI director for the soIo tour.
426
00:49:28,561 --> 00:49:30,756
And Jerome Rimson, who some years earIier,
427
00:49:30,830 --> 00:49:33,856
had pIayed on Dancing In The Streets
by Martha and the VandeIIas,
428
00:49:34,033 --> 00:49:36,433
a song which was featured
in the earIy Thin Lizzy set.
429
00:49:36,736 --> 00:49:38,863
This being the first DubIin
appearance by the band
430
00:49:38,938 --> 00:49:41,702
the atmosphere is tense,
but good humoured.
431
00:49:41,808 --> 00:49:43,469
So, you know, it was a good gig.
432
00:49:45,178 --> 00:49:46,873
No girIfriends on my end.
433
00:49:47,780 --> 00:49:49,577
I have the wife here.
434
00:50:39,265 --> 00:50:42,166
If you weren't a rock star,
what do you think you'd be doing?
435
00:50:42,702 --> 00:50:44,067
Fitter and turner.
38368
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