Thin Lizzy, a band synonymous with hard-hitting rock anthems and groundbreaking twin guitar harmonies, harbored a secret weapon in their arsenal: Phil Lynott. The charismatic frontman, celebrated for his robust vocals and poetic lyricism, also possessed a knack for crafting exquisite pop melodies. Among their diverse catalog, “Dancing In The Moonlight” stands out not as a raucous rocker, but as a smooth, almost jazzy ballad that showcases Lynott’s songwriting versatility and the band’s musical dexterity. This track, from their 1977 album “Bad Reputation,” encapsulates everything that makes a Thin Lizzy song great: exceptional musicianship, evocative storytelling, and Lynott’s uniquely captivating voice – capable of conveying both toughness and vulnerability. Let’s delve into what makes “Dancing In The Moonlight Thin Lizzy” such an enduring and beloved song.
Thin Lizzy emerged from Ireland, a nation not initially renowned for its hard rock exports. Yet, alongside U2, they arguably became the most impactful Irish band on the global stage. Their journey to success was even more improbable considering the band was spearheaded by Phil Lynott, a black man born to a single white mother in a predominantly Catholic Ireland. This unique background infused Thin Lizzy with a distinct identity, setting them apart in the rock landscape of the 1970s.
The seeds of Thin Lizzy were sown in Dublin when a young Phil Lynott connected with drummer Brian Downey. Their shared passion for music led them through various bands before they teamed up with guitarist Eric Bell in 1969, officially forming Thin Lizzy. As a trio, they released three albums, achieving minor success with their rendition of the traditional Irish song “Whiskey In The Jar.” However, mainstream breakthrough remained elusive, and lineup changes began to shape the band’s trajectory.
The pivotal moment arrived with the introduction of a four-piece formation, featuring not one, but two lead guitarists. This bold move redefined Thin Lizzy’s sound. Scottish guitarist Brian Robertson and Californian Scott Gorham joined forces, creating a twin guitar powerhouse. Their contrasting yet complementary styles, characterized by fiery, melodic solos and harmonized guitar lines, became a defining characteristic of Thin Lizzy, alongside Lynott’s unmistakable vocals.
After a couple of albums that honed their sound but didn’t set the charts ablaze, Thin Lizzy hit their stride with “Jailbreak” in 1976. This album catapulted them to international fame, boasting classic tracks like “The Boys Are Back in Town.” However, beneath the surface of success, internal tensions and personal demons began to surface, threatening to derail the band’s momentum.
The period following “Jailbreak” was turbulent. Substance abuse issues escalated, and on the cusp of a US tour, Phil Lynott was hospitalized with hepatitis. This setback forced the cancellation of the tour. Upon Lynott’s recovery, they recorded “Johnny The Fox,” and rescheduled another US tour. However, misfortune struck again, this time with Brian Robertson suffering nerve damage to his hand in a bar fight, leading to yet another tour cancellation.
These incidents exacerbated existing friction between Lynott and Robertson, culminating in Robertson’s dismissal. A brief US tour supporting Queen followed, with Gary Moore filling in on guitar. Subsequently, Thin Lizzy entered the studio as a trio, with Scott Gorham handling all guitar duties.
However, Gorham strategically left space in the arrangements, anticipating Robertson’s return once his hand healed. He successfully persuaded Lynott to bring Robertson back, albeit under the condition that he would be a hired musician, not a full-time member. This unusual arrangement resulted in the “Bad Reputation” album.
“Bad Reputation” is an intriguing album, reflecting the band’s internal dynamics. Robertson received album credit, yet his image was absent from the cover, appearing only on the back. Musically, the album is a tapestry of styles, encompassing some of their heaviest and most intricate compositions alongside softer, more melodic tracks and catchy tunes. This eclectic mix, born from a period of uncertainty, ironically makes “Bad Reputation” a favorite among many Thin Lizzy aficionados.
“Dancing In The Moonlight” graces the opening of side two on the original vinyl release of “Bad Reputation.” The song originated from a bass riff conceived by Phil Lynott. He presented it to Scott Gorham and Brian Downey, and together they sculpted the song’s arrangement. Production duties were helmed by Tony Visconti, renowned for his work with David Bowie and T-Rex, adding another layer of pedigree to the track.
The song commences with Lynott’s bass guitar taking center stage.
Phil Lynott, the charismatic frontman and bassist of Thin Lizzy, captivating an audience with his dynamic stage presence and musical talent.
A distinctive phasing effect is applied to the bass, creating a swirling, almost psychedelic sonic texture. The use of effects on bass guitar, particularly a phaser, was unconventional, lending a unique sonic signature to the song. Lynott’s bass playing is further characterized by his use of a pick, the percussive attack of each note clearly audible.
Brian Downey’s drumming provides a relaxed, swinging rhythmic foundation, enhanced by the addition of overdubbed finger snaps, amplifying the song’s laid-back groove.
The song structure incorporates subtle yet effective transitions. A brief instrumental break, featuring snare drum, bass, and a wah-wah infused guitar, acts as a bridge leading into the first verse.
Scott Gorham’s guitar work on “Dancing In The Moonlight” is a masterclass in tasteful restraint and melodic layering. He constructs multiple guitar tracks in stereo, creating a rich sonic tapestry that complements the bass and vocals without overshadowing them.
Phil Lynott’s lyrical prowess was as significant as his musical talents. While capable of penning quintessential rock anthems, many of his lyrics transcended typical rock themes, exhibiting poetic depth. In “Dancing In The Moonlight,” Lynott adopts the persona of a teenager navigating the awkwardness and exhilaration of young romance.
His lyrics paint vivid, relatable scenes: meeting a girl at a dance, navigating early dates, and the clumsy attempts to appear suave. The line about chocolate stains on his pants is a particularly striking detail – initially quirky, it evokes an instantly recognizable image of teenage awkwardness. This lyrical specificity and relatable imagery are hallmarks of Lynott’s songwriting.
The chorus introduces a new sonic element: a saxophone, played by guest musician John Helliwell of Supertramp.
John Helliwell, the saxophonist from Supertramp, known for his distinctive saxophone melodies that added a unique dimension to Supertramp’s sound.
Helliwell’s saxophone adds a jazzy inflection to the song, enhancing its sophisticated and mellow vibe.
The second verse continues the narrative of teenage romance, with subtle vocal nuances from Lynott, including an audible breath intake before he begins singing, adding to the song’s intimate feel.
The bridge section shifts the narrative. The teenage protagonist, out past curfew, misses the last bus and faces a long walk home, anticipating parental disapproval. This sense of teenage apprehension is subtly conveyed in the music, particularly in the saxophone melody during this section.
Brian Downey’s drumming in the bridge features a delicate snare rim click, adding a percussive texture that underscores the mood.
The musical transition out of the bridge is masterfully executed. The protagonist’s mood shifts from apprehension to defiance, deciding the evening was worth the potential trouble. The song then erupts into a joyous guitar solo.
This guitar solo, performed by Scott Gorham on a Gibson Les Paul (likely a Deluxe model from that era), is widely regarded as a career highlight and a standout guitar solo in rock music history.
Scott Gorham, Thin Lizzy’s American guitarist, delivering a powerful performance with his signature Les Paul, contributing to the band’s iconic twin-guitar sound.
The solo is characterized by its melodic phrasing, seamless transitions between sections, and dynamic build-up. It’s not just a display of technical prowess but a melodic journey in itself.
Following the release of “Bad Reputation,” Thin Lizzy, with Brian Robertson back in the fold, embarked on tour, resulting in the iconic live album “Live And Dangerous.” Considered one of the greatest live rock albums ever recorded, it captured the raw energy of Thin Lizzy in their element.
However, Brian Robertson’s tenure with Thin Lizzy concluded permanently after this period. Gary Moore rejoined the band, making significant contributions to their next album, before also departing. Thin Lizzy continued with further lineup changes and released more albums, which while solid, arguably didn’t fully recapture the magic of the Robertson or Moore eras.
Thin Lizzy officially disbanded in 1983. Tragically, Phil Lynott passed away in 1986 at the age of 36, due to complications from substance abuse. His death marked a profound loss for the music world, cutting short a truly unique and influential career. Despite the band’s eventual dissolution and Lynott’s untimely demise, “Dancing In The Moonlight” remains a testament to Thin Lizzy’s musical breadth and Phil Lynott’s exceptional songwriting talent. It stands as a reminder that Thin Lizzy was more than just a hard rock band; they were capable of crafting songs of sensitivity, melody, and enduring appeal, proving their versatility and cementing their legacy in rock history.
