Thanks to the wonder of modern technology, the album features the original vocal stems of the legendary, Phil Lynott, accompanied by new recorded guitar tracks from Eric Bell, who I’m sure for most of you, needs no introduction…
For those that do, Bell was the original Thin Lizzy guitarist featured on the bands 1971 self-titled debut, as well as ‘Shades of a Blue Orphanage’ (1972), and ‘Vegabonds of the Western World’ (1973), before his decision to leave and pursue his own musical journey, which consisted of his solo band, and also a brief stint in former Jimmy Hendrix bassist, Noel Redding’s band in the mid 1970’s.
Having served as one of the founding members of Thin Lizzy back in 1969, I was eager to find out all about how this opportunity came about, as well as his thoughts on the, now infamous, legacy of Thin Lizzy after all these years…
Eric Bell greets me with an upbeat, chipper tone as we settle down for our conversation about this surprising new addition to the Thin Lizzy discography. I figured the best place to start would be to find out how the idea of re-working some old school classic “Lizzy” tracks came about….
“Well, it all started about seven months ago off the back of a promo event for the remastered edition of ‘Vagabonds…’ in Dublin”, he explains. “A couple of guys from Universal Records reached out to me about three months after that event and asked me if I’d be interested in doing some acoustic versions of some early Lizzy tracks. Without much hesitation, I said “yes”, and within weeks of that discussion, ‘Oh Yeah Music Centre’ in Belfast was booked for the recording sessions”, he explains.
“When I got to the studio, there were three or four acoustic guitars for me to try out and without any pomp or circumstance, we just started working on the tracks”, he says laughing.
As he tells me about the feelings he had when he found himself listening to Phil’s original vocal stems in the headphones, I ask if the memories and nostalgia instantly came flooding back at that moment…
Taking a moment to answer, he responds deep in thought, recalling that very moment in the studio, “Yes, when I heard Phil’s voice coming through my headphones, it was like it as fifty years ago in the blink of an eye. So many memories came flooding back at that moment, and to be honest, it kind of took me by surprise”, he admits. “In some ways, hearing his [Phil] isolated vocals gave me an unexpected jolt that inevitably was translated to the actual recording that you hear on the album”.
As we continue to talk about the recording process, Eric begins to tell me that the original recording of ‘Eire’ from the ’71 debut, was recorded acoustically and then build up with layers of tracks to what we all know and love about the track today. I ask if there were other songs from his time in the band that were written that way…
“There was a few other songs that we worked that way also, for example, ‘Slow Blues’, ‘Remembering Part 2’ and of course, ‘Whiskey in the Jar’. Normally, we would just jam out as a full live experience, so there’s not much old recordings of us doing things acoustically” he says.
As he continues to reminisce about the early days in Thin Lizzy, he recalls the first encounter with Phil and his specifications prior to the formation of the band…”When I first met Phil and he was talking about forming a band, he said it would have to be on his terms”, he says smiling. “One was that he wanted to play bass, the second was that we would work on his songs. So he came around to my flat with a really old reel-to-reel tape machine and proceeded to run through three of his songs with him just singing and playing acoustic guitar. You have to remember, at the time, I had no idea about Philip at all, so I didn’t know what to expect. For all I knew, he could have been a total weirdo”, he says laughing.
“He played the tracks and I was just blown away. I knew that this guy was something really special. From that moment on, we just started writing and working together and in a very shot period of time, we moved into a house together, which I believe really was the turning point for us musically. We were just working on our music all day, everyday”, he says fondly. “Looking back, I think that’s what really gave us the edge on the other bands that were in Dublin during that time. Don’t get me wrong,” he says firmly, “there were some excellent bands from that era in Dublin, but they would only get to rehearse once or twice a week, whereas we were just working on our music day in, day out, and it showed when we played live”.
As he tells me about the bands routine in dismantling the foundations of their songs and reworking, re-writing to what we have come to know today, I as if there were any personal recordings from those home sessions that he was aware of…..
“To be honest, I’m not sure”, he says softly. “I remember during that time, bearing in mind we had only been a “band” for about two/three months at best”, we got an offer from a guy in Dublin (John Dardis of Trend Studios), and he offered us a deal whereabouts we could record one of our songs, if we also recorded one of his songs (‘I Need You’). So, we decided to record a track called ‘The Farmer’, which is a collectors item now. I think there’s only about 300 copies of that 7” in existence. Other than that session, to my knowledge, there’s not any other recordings from that period of time that are archived”, he says nonchalantly.
“When I was working on this new acoustic sessions album, it brought back memories for me of when we were recording the first Lizzy album. Back in those days we were very stoned for most of the time and of course with that being the case, we would take a considerable amount of time to get things done”, he says with a grin. “For example, I’d end up recording about four of five different guitar solos, and I’d listen through them and pick the one that worked best for the song. So, while all of that was going on, the guys in Decca Records were not too happy with the outcome, and they hired a freelance producer (Nick Tauber) to come in and get a grip of what we were doing, he also worked on ‘Whiskey in the Jar’. We were just a bunch of kids that were figuring out the way things worked”, he says laughing.
As we discuss the new acoustic sessions album, I ask if there are plans for more songs to be recorded in this way… a possible “Volume II” if you like?
“I’m not sure”, he admits. “It’s early days yet. I suppose they are all waiting to see how well this album does. I’m sure if all goes well, there’s a pretty good chance that more will follow. I found this project to be a bit of a challenge, which I really enjoyed. You’ve got to remember that it was fifty years ago! It was a very enjoyable experience that was difficult in one respect but to be put in a position where all my guitar work was taken off and then I had to replace with a totally different medium, yet keep the vibe of the original…that was where I found the challenge”.
When asked if he had much time to prepare for the recording, he says, “I didn’t have much time at all. “It all just happened so quickly, and before I knew it, I was in the studio listening to Phil’s vocals and Brian’s drumming, and then with all the feelings and emotions entwined, it was a lot to process, but as I said, a really enjoyable experience”, he confides earnestly.
The topic of conversation turns to the bonus track, ‘Slow Blues G.M’. – a tribute to the late Gary Moore (Thin Lizzy 1973-1979), and I ask what Gary’s legacy means to Eric, and why it was important for him to include this tribute on the album?
“He was just an incredible guitar player”, he admits candidly. “He was just so dedicated and focused. I met him when he was just eleven years of age because his Father owned a club in Hollywood, Ireland, and for anyone that played in the club, there was one stipulation, and that was that Gary would be allowed to get up on stage and play a song. So, I saw him there one night performing The Beatles, ‘Help’ and there’s a very tricky little section in that song and he nailed it. Then he watched me performing in that club and we just struck a friendship that lasted for many years”, he recalls fondly.
“When I was living in London, I used to visit Gary in Brighton on occasion and we’d have great night’s out and some great sessions messing around with music. He was just a very confident and exciting guitar player, also he was guaranteed to blow anyone off the stage”, he says laughing.
Looking back at the bands illustrious career, Thin Lizzy has influenced generations of musicians, from Metallica and Guns ’n Roses, to Megadeth, Foo Fighters and beyond, – as one of the founding members of the band, I ask Eric why he thinks their music is so timeless and impactful some fifty years later…
Taking a moment to answer, he responds with a sense of bewilderment, “When I see so many huge international artists mention Thin Lizzy as an influence, I always shake my head and smile because the reality is that when we started out, we couldn’t give those first three albums away for free, let alone sell any”, he says playfully.
“We were living in London at that point and I remember reading reviews of the album and the shows, and the honest truth is, they were not that good! At that point, I was thinking; “Well, that’s that! We’re never gonna amount to anything.” We might get one or two years with the line up but I never would have every thought that it would have turned out the way it did. Even today, the amount of interest in those first three albums, is amazing to see”.
Of course, Thin Lizzy’s sound evolved into a twin-lead guitar powerhouse after your departure, what were your thoughts on how the band’s sound evolved with Gary Moore, Scott Gorham and Brian Robertson?
“Once I left the band, that was it”, he says abruptly. “The band that we started back in the day with Brian and Philip, that was a totally different Thin Lizzy in my opinion. We were not a radio-friendly band. After I left and the twin guitar sound emerged in the music, along with the big radio-friendly choruses…to me that’s a completely different band!”, he admits. “The twin guitar sound was incredible and very powerful, however in my opinion, Philip had changed. I could see that he went from a certain way, to becoming a very angry young man on stage, which was amazing to see and complemented the music, but for me, it’s a totally different band to the Thin Lizzy that I was part of’”, he concludes.
With our time running out, conversation turns to present day and Eric begins to tell me about a new solo album that he’s working on…
“I actually finished the bulk of work for the follow up to 2016’s ‘Exile’ album back in October. It’s going to be called ‘Authenticity’ and I’ve just got a few more small bits to do before we do the mastering. We’re looking at a release date for late March, so keep your eyes and ears open for that!”, he concludes.
Thin Lizzy ‘Acoustic Sessions‘ will be available from January 24th from all good record stores. Order online via this link.
Oran O’Beirne
www.overdrive.ie 2025
