![]() Get Justin next year, make it a four piece and make it a true pint of Guinness. When other people tell you that they remind you of Phil that is huge. Justin plays in other projects and it was not his idea to pull together that show. I don’t know if he is still in town and I realize that his friends had to talk him into doing the Black Rose show telling him how much he looked, acted and sounded like Phil Lynott. While they had a lot of fun and kept the rest of the band going, it would have been better if they found Justin Taylor, who not only played bass, but, did the best job at singing Thin Lizzy I have heard yet. Patrick’s Day? The only non-plus was the round robin singers. I wish that they would make this at least an annual event, let’s say, on St. I know my Thin Lizzy and satisfied my hungry soul as well as that of a hardcore Lizzy fan from Europe who was wearing his Brian Robertston T-shirt and bouncing up and down on the front row. Jimmy The Weed did play “Johnny The Fox Meets Jimmy The Weed.” Not only that, they got into “Warrior,” “Emerald,” as well as crowd favorites, “The Cowboy Song” and the closer “The Boys Are Back In Town.” If not, you are on the right path, Grasshopper! Get an old school Marshall, open up the back and have the tech look and see if any of the parts have been messed with. Forget all the bells and whistles and scooped tones, even the JCM800 which tries to emulate Michael Schenker before putting any pedals on it. ![]() I won’t get too technical, but, let’s just say they had transformers big enough to break your back! If you want a Marshall, you should go old school. There are certain Holy Grail Marshall Amps and this is one of them. Guitarist, Philip Shouse, truly had the Johnny The Fox, Brian “Robbo” Robertson tone down playing through a mid-70’s non-Master Volume Marshall MKII with the four input front like the old JTM 45’s. Looking for more? Check out our best Irish songs of all time.Jimmy The Weed, Philip Shouse, foreground.Mercy Lounge The appealing fisheye lens cover image was taken by David Wedgbury, the first staff. They’ve all covered it over the years, secure in the knowledge that folks around the world will know it well. Thin Lizzy signed with Decca Records on December 1, 1970, and within five months their debut album was released. Just ask Metallica or U2, Bryan Adams or Simple Minds. ![]() ![]() Ironically, despite the band’s antipathy towards it, Thin Lizzy’s is now the definitive version, Eric Bell’s guitar lines the template as to how it is now performed.Īnd for any rock or pop band to endear themselves to an audience, Irish or otherwise, it’s a song for the ages. The song’s commercial success opened necessary doors through which the band would run at full speed, but it soon turned into a creative albatross. The rest is Thin Lizzy lore: Released in the winter of 1972, “Whiskey in the Jar” quickly reached the top of the charts in Ireland, but took a few months to achieve chart success in the UK. The die was cast, however, when Dick Rowe, head of Decca Records, heard the rearranged song and overthrew the initial decision to include it as a mere B-side to their debut Decca single (“Black Boys On The Corner”). The band was unconvinced, but Lynott’s friendship with the Irish band Horslips – formed in 1970 and pioneers of what has become known as Celtic rock – made Lynott particularly sympathetic to the commercial possibilities of “rocking up” such a well-known traditional folk song. With Thin Lizzy members Eric Bell and Brian Downey taking a breather between songs, Lynott picked up a guitar, singing bits of this song and pieces of that song until he launched into “Whiskey in the Jar.” As they were playing, their Irish co-manager Ted Carroll walked in, noting the song sounded like a potential hit single. Lead singer Phil Lynott had known the song for years, having performed it many times during the 60s in his formative days on Ireland’s folk music circuit. It began as a joke during a lull in afternoon rehearsals in an upstairs room of the Duke of York pub in London’s King Cross area. Such traditional ballad/folk songs sung by people in Aran sweaters and preppy attire were remnants of an era beloved by their parents. ![]() Nonetheless, rock musicians and their followers steered clear of the song because it was viewed as a relic of a different time, place, and culture. By the close of the 60s, “Whiskey in the Jar” had become a staple of virtually every traditional Irish music session you chanced upon. ![]()
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