This is one of the all time greatest tracks the band would ever do IMHO. I love how it is followed up with a much different kind of song and vibe as no follow up is going to compete with "Little Girl In Bloom".
It is the perfect track to lighten the mood, take a breath, and get a little funky after the masterpiece that came before. In hind site, this is the perfect sounding album conclusion track wrapping up their first truly classic album quite well. I am new to the band having only gotten into then the past 5 years or so and all my experience with the catalogue has been from the CD's prior to the new deluxe versions, but I now have those as well. IMHO of course. PouchkineCrush EverythingGodShifter and 2 others like this.
Most of this is new information to me and came about from a chance meeting between myself and Frank Murray in Grafton Street a few days ago. So off we went for a coffee in Bewleys and I recorded Frank on my iPhone. I used to buy those albums just for the beautiful covers! He gave the same brief to both myself and Tim and myself. I had presumed it was via our mutual friend Peter Fallon and the a work I had done for Capella because when Philip, Frank and myself met for the very first time in Nearys Pub, Philip had a copy of Capella with him and told me how much he liked it.
Never knew the other side of the story. Myself and Frank need to sit down and talk some more. We had a love of American comic books, poetry, Ireland and all things Irish and a LP) fatherless upbringing. He loved the gatefold rough I prepared but the record company knocked it on the head so we went for the best part of the design and worked it up.
BoedefeldCrush EverythingGodShifter and 4 others like this. Glad you posted that ace Cracking website and some fond memories from the author. It wasn't always easy for me to find the London albums when Lizzy was my current hot band in the mid 70s. The only one I ever saw was the first, and I just didn't get what the cover was Little Girl In Bloom - Thin Lizzy - Rocker (1971-1974) (Vinyl I didn't get the Irish accent joke that was the bands name.
I am told that Whiskey was recorded because some record company guy thought it would be a great single for this Irish band. I think Phil and the boys didn't even like the idea, but they did it as a one off and DAMN if the record company wasn't right and it became a hit.
Its arguable that Whiskey broke the band out first. Its an excellent mash up of tracks. We are now approaching my on ramp "Nightlife". Last edited: Dec 24, Location: Halifax, Nova Scotia. Early promo with Gary Moore March Yeah, Little Girl In Bloom - Thin Lizzy - Rocker (1971-1974) (Vinyl, so basically things got very turbulent and crazy in the months following this album's release. It seems we have the following discussion points all dealing with this era before we get to Night Life : - the LP itself - the Whisky single - Bell's rather dramatic departure - Moore's arrival, short tenure and departure - the audition which results in Robertson and Gorham being hired Also, somebody should post something on the differences between the Deluxe which I don't have and the '91 original Deram CD I definitely want to savor these for the next 7 days or so What is it with Thin Lizzy and really crap videos?!
Location: The Mohawk Valley, where the birds warble sweet. Part 2. The second if LP) rough of the Album artwork. The third is the finished artwork. He loved the result and maintained the link with another mutual friend, artist Tim Booth, by having Tim design the cover logo while I worked it up and added my touches to finish it off for publication along with my cover art.
I hope the above gives the reader some idea of the character of Philip Lynott; a kind considerate, powerfully talented young man who wanted to bring all his many friends along with him on his own deeply personal journey. He forgot no one, remembered us all and included us in his life, his family and his art, the beautiful early lyrics and his wonderful music.
We shared his triumphs and in the end we shared his sadness and mourned his loss. One could easily point out that the Thin Lizzy logo and title art are designs based on the lettering of classic US car logos like Chevrolet but that begs the question: was this a deliberate choice of artist Tim Booth, who did the original logo roughs and which I took and more or less polished up to prepare for the final finished artwork?
Who knows? My guess would be that both Tim and myself saw a chance to be different and creative and the influences simply fed into the art as it progressed. I doubt if Tim had a Chevy logo handy but we both knew it well so it just metamorphosed and transferred from conception to solid pen work, from the creative mind to practical pen, ink and paper.
The album cover art was all my own work and evolved also from a number of early sketches to a more developed pastel and water colour rough spread over two pages as a gatefold design which was declared a non-runner by Decca, the record company for obvious financial reasons.
The drawings were all done on a wing and a prayer as I had only a few poor photos of Brian and Eric while myself and Philip ducked into a passport photo machine in Grafton Street for a few good pix as reference. I always notice the fine, if exaggerated, likeness of Philip is much better drawn than either Brian or Eric and the reason is simply: better reference material.
The foreground is a lunar landscape and is just an invention; the added Newgrange style carved stones are my own idea while Philip added the little spider and a few other jokes for me to include. Not as good as our friend B. The artwork was first executed in pen and ink only, from a number of preparatory drawings approved by Philip, then photographed by me and transferred to clear litho film, the colour was then added on the clear film mostly on the reverse side as in a cartoon cell.
The colour choice was very influenced by the darkened colours being used in Marvel comics of the time and the comic book influence is everywhere, from the Ben-Day dot matrix added to the space clouds by hand via Letraset repro dot sheets to the Kirbyesque spaceships and the moon and the tiny edifice on the rocks. The carvings are based on Neolithic Irish carved stone art, as in Newgrange, and there is a nod to Zeppelin added on one of the stones.
Wait - I found the spider! Remembering — Part 1 The Continuing Saga of the Ageing Orphans Collector's Guide to Heavy Metal. B-side to " Whiskey in the Jar " single Vagabonds of the Western World Unconfirmed is that Lynott made Downey a birthday gift of the writing credit.
Brian Downey. Thin Lizzy This s rock album—related article is a stub. The songs are presented in a range of rock sub-styles from British style blues-rock to their own style of Irish folk rock with some slight psychedelic and jazz tinged numbers. The album would prove to be the high water mark for the original trio of Phil Lycott bass, vocalsEric Bell guitars and Brian Downey drums, percussion.
Lynott and Downey knew each other since school in the early s and they played together in the Dublin area band, The Black Eagles, through After heading out in differing music adventures for a few years, they came back together and formed Thin Lizzy with Bell in The following year LP) signed with Decca Records and relocated to London where they recorded their self-titled debut album in early T Shades of a Blue Orphanage followed a year later but neither of these first two albums charted or sold very well.
Settin The Woods On Fire - Various - Country Roots (Box Set), Walking Through Walls - Steve Hackett - Highly Strung (Vinyl, LP, Album), I Remain - Gothic Spirits - Gothic Spirits 10 (CD, Album), Misirlou - Various - The Tarantino Connection (Cassette), Its Gonna Take A Miracle - Ken Boothe - Rock On Love (CD), Lover - Chris Connor - Live (Vinyl, LP), Turbo Belly - No Where To Run (Vinyl), Tale Of The Witch - Lycanthropys Spell - Forest Of Misanthropy (CD), We Can Fly - Albertracks - Teddy (Vinyl)