![]() Then after The Boys Are Back In Town hit, all the time just evaporated. There were a lot of peaks and valleys, especially on those first couple of albums, until we finally got into our stride around the time of Jailbreak and Johnny The Fox, which came out the same year. I think every album we did, there was an element of: well that song’s killer, maybe not so much that one. It seemed to take its cue from the rousing Sha La La – the only out-and-out rocker on Nightlife – and just keep building. We all walked out scratching our heads, going: “What the fuck just happened there?” That’s when Phil goes: “Fuck these producers, I’ll produce the next one.” I went: “Oh shit. So we’ll just take it down a notch.”Īnd Nevison was like: “Could you turn it down a little bit more?” And the volume kept going down and down, to where the songs just didn’t have that drive any longer. But when we got into the studio, Ron Nevison, the producer, kept saying: “Just turn the guitars down a little.” Robbo and I would look at each other and go: “This is our first album, and this guy’s just worked with Led Zeppelin. The rehearsals for that album were exactly the same way as when I went down and jammed with them: everything was loud, it was big. Was the thinking: this is where we should be going too? ![]() But 1974 was the year of Little Feat, the Average White Band, Rod Stewart doing Motown, Bowie’s Young Americans. It got written off for its unexpectedly laid-back, funk-brother vibe. The first Lizzy album of the new LynottDowney-Robertson-Gorham era was Nightlife. Now if I reverse the whole thing, and say a new guy comes in years later and goes: “You know, Scott, The Boys Are Back In Town, this is a whole new thing. Let’s get rid of Whiskey In The Jar.” You know, like it was that easy. So after about six months of playing this damn song, I go to Phil and say, you know, Whiskey In The Jar, it’s great, but we got a new band now, we gotta stand on our own two feet, you know? He goes: “Yeah, I get it.
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