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Discussion in 'Bassists [BG]' started by dougjwray, Mar 23, 2021.
This isn’t rock?
Plus, you’re judging his whole career from one song?
Taste, with Rory Gallagher, were just ahead of them...
Fancy licks and fast playing is not primary criteria for bass greatness.
It’s all in here...
Take this in, and get back to us...
Sure, his playing may have been overshadowed by the harmony twin guitar attack, but that was the band’s signature sound, and, like Lemmy, he was often filling the roll of bass and rhythm guitar; there’s an art to that. Plus, as pointed out above, he was the architect of the whole thing and a standout front man, pulling off all of it at once. What strikes me about this show is that, in spite of all the fierce guitar acrobatics, both guitarists are secondary to what’s going on. All eyes on Phil.
Its palpable the one thing no-one is mentioning here...so I will. Phil was mixed race and that is a very significant element here....For him to be fronting a hard rock band with a fro back then was very unusual indeed, yet tho we all knew it even back then in the turbulent 70's it was never even talked about....which is concrete proof of the power of music and the levelling effect it has on us all.
Yeah, I considered that. But I wasn't too sure how internationally well-known Taste were. I thought Gallagher's solo work was what made him a (somewhat) household name.
Where on earth did you get that idea from?
Unfortunately, i saw TL in 78 with AC/DC and Dictators opening....1st off Brian Downey apparently got in a fight and could not play....the drummer who filled in sounded like Keith Moon in comparison! Not good! It gets worse...a terrible mix with tons of delay on the guitars and Gary Moore overplaying....AC/DC frankly blew them off the stage and you could see the frustration with Phil sadly as fans left in droves.
Could not believe how stoked i was to see TL and this happens....
To add to that...Phil had probably one of the BEST and Underrated drummers with Brian Downey and THAT helped soo much with the music and groove.
PL talked about it some in "Ode to a Black Man" from Solo in Soho. As well, I always took the album name Black Rose to be relevant. That Solo album, BTW, is different, pretty good.
Taste were up-and-comers in the UK and Europe, opening for Cream and Blind Faith before falling apart right about the time Lizzy was coming together. In fact they were considered somewhat to be Ireland’s answer to Cream, and did get some airplay on US FM stations; I heard them even in the backwater midwest. Gallagher’s solo career was up and running, and actually running out of steam, before anyone in America really heard of or cared about TL. It took several albums and personnel changes before they hit paydirt in ‘76 with Jailbreak and TBABIT.
Everybody has heard “BEG” too many times, and is so unlike all the stuff from his Warner Brothers years. Astral Weeks(with its mystic jazz-folk)aside, you’ve got “Wild Night”, “Domino”, “Caravan”, etc., maybe it wasn’t hard rock, but neither is “Dancing In The Moodlight”.
Phil was no virtuoso, nor was he a truly great singer with a lot of range. But he wrote a lot of great songs that never got their due on the charts, he had a great feel for walking basslines which he used quite effectively at times, and he had a unique voice and perspective. Here's what I'd recommend other than the two big hits to listen to first...
Johnny The Fox Meets Jimmy The Weed
Waiting For An Alibi
Dancing In The Moonlight
Hollywood (Down On Your Luck)
Killer On The Loose
Angel Of Death
The entire "Live And Dangerous" album
I like Gary Moore, but he was a bad fit for Thin Lizzy. IMHO. Back on topic, I thought Lynott played the right notes for HIS songs.
Phil Lynott was a big influence on Steve Harris apparently....critics back in the day described Iron Maiden as "Thin Lizzy on speed"!
Anyone know Phils gear (did i miss that)?
It was more a case of the soundguy screwing up the whole Thin Lizzy set....ive heard some cuts of the 78 tour that sounded good.
This show was really a letdown soundwise for Thin Lizzy....never got to see them again sadly...i liked Black Rose but i lost track once the lineup started changing from the 'Jail Break' lineup.
But yeah, Phil played the right notes!
Fender P, Acoustic 370/301, Ampeg B-15, and a Marshall Superbass with 215. And he used an MXR Flanger sometimes back then, too.
The classic era was a couple of P Basses that were modded at different times. Nothing particularly unique. Dimarzios, add a J pickup, Badass bridge, mirror pick guard. He would go on to a few different Ibanez basses and finally a gutted Roland synth bass, G33 IIRC. For amps, he usually had a flip top Ampeg along with an Acoustic, and later, a Marshall rig. He eventually went to a Dynacord combo with the Marshall rig. He didn't use a lot of effects. Phaser, some chorus or light flanger.
He also had an EHX Small Stone, I believe.
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