Tone Tone Tone

I spent the weekend intensively studying the Thin Lizzy catalogue. Most folks when they think of the ‘Liz remember them for their more commercially successful, riff-laden heavy rock from the mid 70s, the first shades of which come on Nightlife before finding full throated expression on Fighting. There’s a lot to love about the band in this crunchy incarnation, but their early, stylistically elusive records – I suppose you could say they’re somewhat proggy - are actually definitely worth your time, though you should know that they are very different from the more well-known material. Try to imagine what Astral Weeks would sound like if it were performed by a power trio and you’ll have a sense of what you can expect with Thin Lizzy’s debut album. The record’s first three tracks in particular are quite stunning. Eric Bell’s guitar is perfect for this type of material. He’s not necessarily the most technically accomplished guitarist you’ll ever hear, but he creates a lovely atmosphere with playing that’s subtle and pleasing, tasteful without ever being tasty. And he gets a tone out of his guitar that has me licking my chops. It’s the tone I dream about when I think about how I want my electric guitar to sound. Bell’s intuitive feel for the intricate melodies, at once free-form and tight, is a lovely complement to Phil Lynot’s warm and soulful vocals. …The first three Thin Lizzy albums were commercial disappointments and Bell departed after Vagabonds of the Western World. But he left behind a really nice body of work with the band. His sound gets in your blood and stays for awhile. …An interesting side note about Bell: In the mid 60s he spent some time playing in Them. I believe he might even be the guy who adds the lovely electric guitar accompaniment to Here Comes the Night. This may go some distance towards explaining why the first Thin Lizzy album evokes such a strong Van Morrison association…