And so the most somnambulant Christmas of my near half century on this earth comes to closure. London has seemed completely unanimated since the second week of December right through to around Wednesday 7th January no less. Yet another extraordinary reflection of changing demographics in the capital which makes little sense on any front - let alone the logistics of modern employment as I have ever experienced them personally. Or anybody I know has for that matter.
That most seriously ghostly period of Christmas remains of course the definitive focus of pained nostalgia for so many people thinking back to a long lost Britain - as discussed in the previous post on Brian Desmond Hurst's Scrooge and the 1914 Christmas Truce. Digital technology alas has seemed to have fundamentally undermined so much residual charm of the period in turn with such a large part of the population now physically, emotionally and spiritually welded to hand-held devices - the blanket collapse of Christmas television viewing as an industry ratings-focus merrily helping this decline along apace.
That particular aspect of a shared family Christmas - from grimly dated material like Morecambe and Wise through to serious quality output like the BBC's annual Ghost Story For Christmas - is certainly gone for good though a few pieces of music have still remained a mainstay for myself at that time of year. I think in this respect of Mario Lanza's beautiful collection of Christmas hymns and carols on RCA Victor from 1959, Horslips' timeless folk collection Drive The Cold Winter Away from 1975 and Elvis Presley's Seventies Christmas album - released in October 1971 and recorded in May of that year in Nashville.
One particular aspect of festive times gone by that I recall was avidly listening - on the evening of Christmas Day itself - to the vinyl LPs I had received that morning as presents. I remember a degree of physical engagement that now sits in absolute reversal to the modern day when human patience can barely handle 45 seconds of full album uploads on youtube before moving onto the next full album upload. Such an incredible paradigm shift indeed from treating music with total absorption as compared to ludicrous disrespect to the artists. I clearly recall listening in this regard all those years back to Led Zeppelin's third and fourth albums, Rush's A Farewell to Kings and Hemispheres, The Beatles' red and blue compilations and Kate Bush's Lionheart and Never Forever. Perhaps beyond all of these however I think of Thin Lizzy's 1978 Live and Dangerous - one of the greatest live rock albums of all time and as ranking alongside Van Morrison's It's Too Late To Stop Now, Deep Purple's Made In Japan and The Who's Live At Leeds.
Thin Lizzy were formed in Dublin in 1969 and released twelve studio albums between 1971 and 1983 in all - the first three falling within the remit of bluesy progressive rock, the middle six being broadly hard rock in focus and the remaining three residing within the heavy metal genre in essence. With the exception of a single track - the fourth single The Rocker - the classic live album is drawn from the three year period between 1974 and 1977 and the five releases Nightlife, Fighting, Jailbreak, Johnny the Fox and Bad Reputation - the lineup throughout this time being Irishmen Phil Lynott and Brian Downey, the Scot Brian Robertson and Californian Scott Gorham.
For all that I have just previously disparaged the impatience with which people now treat album uploads on digital interfaces I must confess that the first side of Live and Dangerous was so incredibly exhilarating that I found myself repeating the same four-track song-cycle time and time again and found it difficult to ever even get to the second side. This consisted of Jailbreak, Emerald (which along with Horslips' Dearg Doom remains the greatest of all celtic rock songs into perpetuity), Southbound and the Bob Seger cover Rosalie. Ironically Southbound's lyrics prefigure the radical financial struggles ahead for so many millions of people across the British Isles in the decades to come and to this very day - it is a beautiful piece which clearly stands equal to the other three more famous songs around it. Two other Thin Lizzy songs talk about the curse of emigration from a politically and economically-wracked Ireland in Wild One from Fighting and Fool's Gold from the Johnny The Fox album.
To my complete discredit I never got around to seeing Thin Lizzy live in the late Seventies and early Eighties when growing up in Belfast and look back on this with great regret - similar to missing The Skids in the same period and subsequently The Cramps and the original Hugh Cornwell-lineup of The Stranglers after moving to London. Like Rory Gallagher, Thin Lizzy would often play in Belfast across the timespan of the Ulster Troubles and two of their guitarists - Eric Bell and the late Gary Moore - came from Joceyln Avenue and Castleview Road in the east of the city. An overview of the group's concert history throws up many venues in Belfast and Northern Ireland that are now long gone:
1970 - The Astor Belfast in March, The Carousel's Zig Zag Discotheque Belfast in April and the McMordie Hall at Queens University Belfast in May. Ulster Hall Belfast (two gigs) and Newry Town Hall in October. They also played at the Embassy Ballroom in Derry City during the year.
1971 - Another gig at the Embassy Ballroom in Derry and the Town and Country Inn in Newtownards.
1972 - Kelly's Barn Portrush, Ballymena's Flamingo and the King's Arms Hotel in Larne in July.
1973 - Eric Bell's last performance with the group on New Year's Eve at Queen's University.
1974 - Ulster Hall in January and The Carousel in April. Kelly's Hotel Portrush, Antrim Town's Deerpark Hotel and the King's Club in Bangor in July. In August they played the Deerpark Hotel again and the Ulster Hall. Kellys at Portrush on Boxing Day. Other internet resources mention gigs in Newtownards, Dromore, the Royal Arms Hotel in Omagh and the New University of Ulster at Coleraine. Also a December gig at Romanos Ballroom in Belfast.
1975 - The Flamingo in Ballymena in January.
1978 - Two nights at the Ulster Hall in June.
1980 - Lakeland Forum in Enniskillen and The Forum in Antrim in January. Also a gig at the King's Hall in Belfast.
1982 - Three concerts at the Whitla Hall Belfast in January. Phil Lynott played a solo concert at Derry's Rialto in this year - another at the Maysfield Leisure Centre in Belfast was cancelled.
1983 - Last Thin Lizzy concert in Northern Ireland at the King's Hall Belfast on 8th April.
(The Astor was a dance hall in College Court off Castle Street in Belfast and was one of the city's most popular showband venues and later home to the late Sixties "Marquee Club". It closed in the early Seventies in the midst of the terrorist campaigns of the time and was demolished in 2001. The Carousel was located in Chichester Street in central Belfast - the date of its closure is unknown. Romanos Ballroom was in Queen Street in the city and closed around 1969-70. Ballymena's Flamingo hosted concerts by the likes of The Small Faces, Pink Floyd, The Rolling Stones and Dusty Springfield from its opening in 1959. It also closed at the start of the Seventies. The King's Arms Hotel in Larne was damaged in a large IRA car bomb attack in 1980 and would no longer appear to be in business while The Deerpark Hotel in Antrim was demolished in the late Nineties. The Royal Arms Hotel in Omagh closed in 1999. The Rialto Theatre in Derry became a Primark store and the Embassy Ballroom a nightclub. I can find no information at present on The King's Club in Bangor or the Town and Country Club in Newtownards - both in County Down).
A year after the group split up in 1983 Gary Moore and Phil Lynott released the bestselling single Out In The Fields about the bitter conflict in Ulster. Lynott had released solo albums in 1980 and 1982 - the former covering subjects ranging from now-vanished Soho streetscapes to the death of Elvis Presley to the London punk scene of 1979.
At Christmas in Belfast I noticed that a set of several murals facing The Duke of York pub in the Cathedral Quarter included one of famous Belfast and Ulster personalities including Gary Moore. Alongside him were portrayed George Best, the comic actor James Young, boxer Rinty Monaghan, poet Seamus Heaney, punk icon Terri Hooley, snooker champion Alex Higgins, The Chieftans' instrumentalist Derek Bell, actor Liam Neeson, Eurovisionists Dana and Clodagh Rogers, flautist James Galways, songwriter Phil Coulter and goalkeeper Pat Jennings. Leaning against a wall at the back and looking at the stars - in front of a poster for The Maritime blues venue of Them-vintage - stands Phil Lynott the black Dubliner.
During the Sixties George Best would frequent the overnight bar at the Clifton Grange Hotel in Manchester's Whalley Range which was run at that time by Lynott's mother Philomena - Phil Lynott was a huge Manchester United fan over years and wrote a track about Best called For Those Who Love To Live. He also namechecked the footballer - along with Van Morrison and the Mountains of Mourne - in the Black Rose song's litany of Irish icons.
Very few places in the world produced celebrity figures as cool, utterly unique and charismatic as Best and Lynott in the Seventies - let alone a country at war. So much of the light and style and warmth of Irish cultural identity are embodied in these two men who left this world way too soon. Have a listen tonight to 1973's Vagabonds of the Western World track to remember just how good Thin Lizzy were.
The Rocker and Georgie Best died of substance abuse at the ages of 36 and 59 respectively. Lynott passed away in 1986 and is buried in St Fintan's Cemetery in the Northside of Dublin at the base of Howth Head - Best died in 2005 is buried in Roselawn Cemetery on the outskirts of East Belfast with his mother and father.