Chords for Thin Lizzy - Up Close And Personal 6/7

And then we did, I think we did a show, the Wall Show in New York,
and then the day after I flew back to London,
and the day after that I was in the studio with Chinatown.
So I knocked out a few riffs, which was the Chinatown riff,
was one of mine.
And of course, because I was new and it was all fresh,
it was good vibes.
But even then, I started thinking,
these guys are wasting a lot of time here.
You know, they're wasting a lot of time,
and I don't know whether they realise it's their money they're wasting.
But when I get in the studio, I like to work.
People sort of dismissed Chinatown for some reason.
That was a pretty hot rockin' album, you know what I mean?
It was all of unfortunate things happened with Chinatown.
I always remember when Killer on the Loose was heading straight to number one,
the record company ran out of product.
They couldn't get into shops.
So it went down to number 10, and from then on it went into freefall.
It was heading all the way up.
And Killer on the Loose then got a lot of negative publicity
because it was suggested it was written for Peter Sutcliffe,
the Yorkshire Ripper.
The papers picked on it.
Tabloids loved it, and that was it.
There's a lot of good songs on that.
Now, Chinatown, it's back to, in some respects,
back to thin as the eave old, you know, I feel.
You know, like, it's really raunchy.
It is.
You're right between the eyes.
[G] Yeah, a little lower.
But I think it is definitely, it's got a lot of good stuff.
[C] And I think what's really neat about Chinatown,
you [N] know, a lot of people thought, like,
I might be going soft with the solo album and the kids and [Ab] stuff.
Chinatown dismisses that, like, straight away
because you can see the aggression.
My first album was Chinatown.
And even then, we've got, like, little synth sounds creeping in
on stuff like, you know, Killer on the Loose
and Chinatown in particular.
[N] And then more so with Renegade, you know,
then, you know, he was very kind enough to give me, like, a feature on it.
On a track that him and Snowy had written, a track called Fats.
But it was very nice of him to give me the opportunity
to be involved in the writing, really, because we didn't have to do that.
There were a lot of tracks that I really enjoyed and that did work.
I thought Renegade worked.
The track Renegade, that worked well.
I mean, I'm only talking about the ones I was involved with. _
But there were one or two.
I can't think of their titles.
There were one or two that I figured could have been a lot better
if we'd have spent more time.
But then Phil didn't turn up, you know.
If he's not in the studio, what can you do?
So much money and time wasted.
Snowy was a great player, a wonderful player.
But Snowy brought another sort of side to Thin Lizzy,
I think, that was a bit more
putting the emphasis on the blue side of things.
And looking back, I'm not sure if that was
what the fans wanted.
It wasn't particularly an issue between anybody in the band.
It was just Snowy's style.
And obviously, Snowy had been with Pink Floyd and
Snowy's a fantastic musician in his own right.
But at that point, I think Thin Lizzy probably were looking for something
a bit more _ extrovert and a little bit more,
you know, a bit more fiery.
I don't think I was really the right guy for the band,
because I wasn't a rocker.
When I started playing the guitar, it was just because I wanted to play the guitar.
And my only ambition was to earn a living playing the guitar.
And I didn't really think about becoming sort of,
you know, a rocker or rock star or any sort of star, really.
[Ebm] And that [F] band was sort of in that direction.
So it wasn't [Ab] really comfortable for me.
[F] _ _ [Bb] _ [F] _ _ _
_ _ _ _ [Bbm] _ [F] _ _ [Bbm] _
[Ab] _ [F] _ _ [Fm] _ [Bb] _ [F] _ _ [Bb] _
[Ab] _ [F] _ _ [Fm] _ [Bb] _ [F] _ _ _
[Fm] _ _ _ _ [F] John _ [Ab] _
_ [F] _ _ [Fm] _ [Bb] [Fm] was _ obviously the last guitarist before
the band disbanded.
And [Ab] I [Db] think John was just [Eb] a bit of a
[Fm] came in with a bit of a kick.
And a [C] very different dimension, [Ab] obviously, from Snowy.
And it just [Bbm] sort of added this whole sort of [Ab] slightly edging
towards heavy metal, [F] really. _ _
_ _ _ _ [Fm] _ _ _ _
[Bbm] _ [F] _ _ [Db] _ _ [F] _ _ _
[Bbm] _ _ [F] _ _ [Fm] _ _ [F] _ _
_ _ _ [Db] _ [Eb] _ [Db] _ _ [Eb] _
_ [F] _ [D] _ [C] _ _ [F] _ _ [Eb] _
_ [Cm] _ _ _ [F] Well, touring [Gb] was fantastic.
[Fm] We used to go out [F] eight or [Fm] nine months a year.
You know, there are some bands that go out and do that,
[B] but they're very sort of careful how they approach it.
You know, bed at nine o'clock.
No this, no that.
No drinking.
No this.
Nobody backstage.
But Phil, you know, he's a great guy.
He loved the lifestyle, as I said, you know,
and Phil used to sort of live the dream.
After shows, they used to get him into a corner,
all the party goers, and they'd shove him in a corner
and they'd keep talking and talking just to be seen
with the star of the show.
And he'd look over and he'd see all the shy people
on the other side of the room.
[Dbm] And he'd say, he'd be there stuck with all the posers, right?
And he'd say, he said, I used to say,
just a minute, I'm off to the John.
And off he'd go.
And when he'd come out of the John,
he'd walk up to the shy crowd and he'd go,
how is, how's it going?
And they'd nearly die.
He'd walked up to them.
_ _ _ [N] _