Rock Legends

When it comes to classic hard rock acts, few are thought of so highly and loved by so many as Irish rockers, Thin Lizzy. Managing to transcend their own genre and endearing themselves with punk rockers, metal heads and rock and roll enthusiasts of nearly any variety, Thin Lizzy took the world by storm in the 1970s and ‘80s. The band, through years of hard work and relentless touring, became extremely well known for bringing a thunderous maelstrom of driving, frenetic rhythms and bass lines, blistering dual guitar leads, and some of the most brilliantly authentic, honest and personal lyrical story telling of the genre and time. Unfortunately, Thin Lizzy’s trajectory was ground to a halt in 1984 when an array of personal turmoils forced the band to split. Then two years later, the unexpected and sudden passing of founding member, front man, and primary songwriter, Phil Lynott, denied the prospect of any immediate reunions for the group. However, even with Lynott’s untimely passing, Thin Lizzy’s legacy had already been firmly cemented, and songs like “The Boys Are Back In Town,” “Whiskey In The Jar,” “Jailbreak” and “Waiting For An Alibi” have become hard rock staples over the years and are played by bands, both popular and obscure, nightly, all over the world.

In recent years, Thin Lizzy guitarist, Scott Gorham, has taken it upon himself to reform the band with its surviving members every so often, to perform reunion shows to celebrate both Thin Lizzy’s legacy and music, as well as the life and legacy of the late Phil Lynott. Recently, CULTURE was able to catch up with Scott and hear all about the band’s upcoming shows, his memories of recording the Jailbreak album which turned 40 this year, his feelings about cannabis, and his recollections about his beloved friend and bandmate, Phil Lynott.

First and foremost, you’ve got some dates coming up to celebrate the 40th anniversary of Jailbreak as well as thirty years since the passing of Phil Lynnot. Is it at all surreal for you that it’s been four decades since Jailbreak’s release?

Scott Gorham: You know something, it really is. I hadn’t even realized it until last year when a journalist said to me, “Wow, so 40 years since Jailbreak came out.” And I said, “No, no, no, that can’t be right.” But, then I counted back and I said, “Holy crap, you’re right! It’s been 40years!” So it is strange, that all of these years have been reeled off, and you’re not even thinking about it, then all of the sudden your bones start to hurt. It is amazing that people still want to come out and see the band play, buy the records, and talk about it. It doesn’t get much better than that.

Do you still have any particularly strong memories about recording the album?

I do! This was our third album. Back then in the ‘70s, it was kind of expected that if you hadn’t made it on the first or second record, that you’d better make it on the third or you were out the door. I mean, there was no talking about it. People kept saying this to us, things like, “You know this is the third album man, and you haven’t broken through yet.” The pressure was building on us to really turn this into something special. So, what we did is, we went out and bought an eight-track, we rented a farm house out in the country, that way nobody could disturb us and there’d be no distractions, and Phil, myself and the two Brians went out there and started writing. We ended up writing about 15 songs all in all, and then we had to carve out a list of 10 that we were going to take into the studio and record. Of those 10, the song “The Boys Are Back In Town” was not included. So, one of our managers came down and said, “I’ve heard the 10 that you guys want to do, and they sound great, but let me hear the other five that you don’t want to do.” So we played them for him and he went straight to “The Boys Are Back In Town” and said to us, “You know, there’s something about this song I really like. Can we add this to the list?” And we said, “Sure! Why not? There’s at least one guy who likes that song.” And if that song hadn’t made it on the list, you and I probably wouldn’t be talking right now.

You mentioned the whole “third record” aspect of things. Do you think that pressure also contribute to the heightened energy on Jailbreak? Were you as a band sort of at your hungriest at that point because of that pressure?

Yeah! You know, I think the fear factor makes you concentrate a hell of a lot more. It didn’t feel like playtime anymore, all of a sudden everything got real. I think the other helpful side of it was that we already had two albums under our belt together, so we kind of knew each other’s moves, it was easier to play with each other, and it was easier to come up with suggestions and not feel embarrassed about it. So, I think the experience from the previous two albums really helped a lot and the fear factor gave us a kick in the ass.

Was there any sense, once you all got into the studio and fleshed things out, that the record was going to be as successful as it became?

No, not at all. I mean, you gotta remember, on the first two albums we, the guys in the band, were the ones that chose the singles and, obviously, they totally and horribly flopped. So on this third album, we decided we’d let the record company choose them this time, and they picked the title track, “Jailbreak,” for the first single. But, it was two disc jockeys out of Louisville, Kentucky that latched onto “The Boys Are Back In Town” and played it to f*cking death. To the point where other radio stations around them caught on, and they started playing it heavy, and it began this huge spiral thing across the whole of America. It was really cool to see that happen. So, it really had nothing to do with us or the record company picking things, they didn’t really do any PR on it or anything; it came down to the listenership of all of these different radio stations.

Were you guys on tour at the time this was happening? How did you all find out the song was taking off?

Well, we were on tour, and I remember distinctly that we were playing at this club and one of the managers walked in and said, “Well guys, it looks like we’ve got a hit single on our hands!” And we said, “Re-really? Wh-what song?!” And that’s when he told us it was “The Boys Are Back In Town.”

That’s incredible; I bet you guys must have felt so relieved.

Oh, the weight off our shoulders was immense.

What does it feel like for you nowadays to play through these songs? To pick up your guitar and run through these riffs?

Well, you know, it’s not like I fall down on my knees and thank the Lord every time I play one of these songs [laughs]. But, because we’ve been playing these songs for such a long time, we know the reaction we’re gonna get when we strike up the chorus to “The Boys Are Back In Town,” “Jailbreak,” “Emeralds” or any of the songs on our list because the audiences are really familiar. So, there’s a lot of confidence with our set. I mean, we can go out there, play for an hour and a half or and hour and 45 minutes and, really, nobody is gonna get disappointed. That’s the great thing!

You all have Scott Travis from Judas Priest on drum duty for the majority of these upcoming shows and that’s pretty spectacular.  How did Scott’s name come up when deciding on a drummer?

Well, you know, in 2011 we toured with Judas Priest in America for about four weeks. It was a great tour, and we got to know all of the guys in the band. It’s funny, I’ve got a real thing about drummers and I don’t laugh at drummer jokes and all that because, to me, they’re the real back bone of the band. Guitar players, we’re kind of just the fluff on top. So I kind of gravitate towards those guys. When we were touring with Judas Priest, I kept checking out what Scott actually did and how well he did it, and I remember thinking, “Wouldn’t it be great to do something with this guy! I don’t know how, when, why or where, but doing something would just be a really cool thing!” So, here comes the opportunity, and when we reached out to Scott, his exact words were, “I’m into this one-thousand percent!”

You’re also going to have Tom Hamilton, a founding member of Aerosmith, on bass, another stellar addition to your line up. Can you tell us a bit about how it was decided that he was going to join you as well?

You know, we put a wish-list together and he was literally the first name on the list, and Tom stepped right up to plate and started swinging. He said, “I’m in! When are the dates? Where are we going? Who else is on the bill?” And as soon as I heard those questions I knew he was in for sure. It’s all happening really quickly and in a really good way, and right now all of the band is nailed down and we’re just getting ready for rehearsals.

Will you guys be playing exclusively Jailbreak material, or will there be other tunes worked in as well?

Oh no, it’s going to take-in all of the albums. It’s hard to make a concert from just one album. At most, you have maybe 40 minutes of music on there, and we plan on being up there for nearly two hours. It’s going to be like Live & Dangerous was; it took in songs from a lot of different records. During this hour and 45 minutes or so, we’ll probably be adding in some songs that we have never really played on stage before. So that should be cool too!

As somebody who’s been playing music all over the world for quite a long time now, you’ve gotten to see a great variety of cultures and social movements of all types, including the growing cannabis legalization movement. You’re pro-legalization, right?

Well, I’m definitely pro medical marijuana! Obviously, my background has a lot to do with having problems with drugs in the past, but the medical marijuana thing—that’s a whole different ballgame. Now we’re trying to get people out of severe pain, if this is the way to do it, then absolutely by all means. I’m sure people will be using it recreationally, I’m quite positive of that. But, when somebody has a real honest-to-God ailment and their quality of life is shit, then let’s make it un-shit. Let’s get them relief from the pain from whatever the problem might be. I am pro-legalization.

We’ve been seeing some gorgeous re-issues of Thin Lizzy records on nice 180 gram vinyl on record store shelves everywhere we go. Do you enjoy knowing that a new generation of fans are getting the chance to enjoy your band’s music on the medium you all were originally releasing your music on years ago?

It is pretty cool! You know, if you ask any musician of any age who was around when the album thing was still happening, they’ll tell you that was the coolest thing. You took the cellophane off of the record, slipped out this big huge square cardboard thing, and all of the artwork that the band put into it was really worth it because you could see it all in detail.

Is it cool knowing this new generation of fans is getting that same experience with records that you had as a kid, or that you and the band had when you released this material for the first time?

I think that’s a really great question, and a really good point. It’s like, “This is what we went through, what do you guys think?” You know, when I look down from the stage, I see fathers with their sons and uncles with their nephews, its people of all ages these days. So I think it’s kind of cool that the next generation gets to experience how we listened to records and learn the ritual of wiping the record off, dropping the needle on, and then sliding it carefully back into its case so you don’t scratch it.

It seems like, while many of your band’s peers seem to fade from the contemporary musical lexicon, Thin Lizzy’s name and music continues to be prominent and relevant. What are the qualities that you think have made Thin Lizzy’s music so timeless and have contributed to its staying power?

That’s a really good question, and one I’ve never really been able to answer, because I can’t look at it objectively; I’m too close to it. I think some of it is from us being semi-connected to the whole punk thing. We were a band who wasn’t afraid of this new regime that was sweeping through the rock world, which was really scaring the shit out of a lot of the hair bands. As soon as they saw the Sex Pistols come out, they sort of knew it was over; whereas, we embraced it. In fact, we even started a band with Steve Jones and Paul Cook called The Greedy Bastards.

When you think of Phil Lynott, what are the strongest memories that come back to you?

Well, what immediately comes into my head is how he didn’t want Thin Lizzy to become a one man show. He always said, “If I wanted it to be a one man show, I’d call it “Phil Lynott’s Thin Lizzy.” But we’re not, we’re a band.” He was constantly trying to include everyone into the songwriting and he wanted to make sure that each guy in the band had his own set of fans and all that. He’d always make sure that interviews were set up for everyone in the band, some people were good at it, some were not so good, so that kind of got paired down to me and Phil after a while [laughs]. But, he was really generous that way. He figured that if everybody in the band succeeded, then that meant that the band would succeed; and him along with it. He was that guy. He was the fearless leader who kept it all together and wanted everybody to do well. So, how cool to be working with someone like that, right?

thinlizzyband.com