Horslips: Sure The Boy Was Green

Horslips – I love this band – from their first album, the traditionally based “Happy to Meet – Sorry to Part,” to there more rock oriented trio of albums of “The Book of Invasions,” “Aliens,” and “The Man Who Built America.” The band took their unusual name from a Spoonerism of “The Four Horsemen of the Apocalypse” which came out as “The Four Poxmen of the Horslypse.” Thus their name was born.

It’s songs like today’s bubbling under feature “Sure the Boy was Green” that gave Horslips the reputation of being an Irish version of Jethro Tull; however, the comparison is made largely on Jim Lockhart’s flute work which is similar, but not exactly the same as Ian Anderson’s style. I read a fan’s comment where he said this song was “Jethro Tull meets Thin Lizzy.” A much better analysis if I say so myself.

The album “Aliens” was the follow-up to their critically acclaimed LP “The Book of Invasions” that chronicled the history of Ireland through successive invasions of the Emerald Isle during its pre-Christian era.

“Aliens” moved closer to modern times and provided a musical interpretation of the Irish who left their homeland in the 1840s for a hope of a better future in America. “Aliens” was their highest charting LP in the US where it peaked at #98. The only other LP to chart on Billboard’s Top 200 Albums was “The Man Who Built America” which was the follow-up to “Aliens.” It peaked at #155.

“Sure the Boy was Green” was released as a single in the US in green vinyl and I found my copy at record store in Barboursville, WV in 1978. The single, however, failed to chart. The title was a bit of a double entendre. First, the seventeen year-old protagonist leaving his homeland for America was inexperienced in life. Second, he was green in that he was Irish. Besides this single, I have five of their albums and one CD and would recommend this band to anyone who wants to explore his inner Celt.

Lyrics

He was only a mad moonlighter, dancing by the sea,Envying nobody chasing shadows crazy and free.
You were the cloud that covered the moon now he just can't see.

Now he's just a kid with a runaway heart,
Jumping ship to anywhere, trying to make a fresh start .
Running away from everything playing a lonely bit part.

Sure the boy was green his heart was on the line.
Seventeen and lonely and biding his time.
Sure the boy was green his heart was on the line.
Seventeen and lonely and biding his time.

 Look at all those fresh young kids, they think they know it all,
Look at the little crazy guy, swaggering down the hall,
He could dance his way to freedom if you don't make him fall.

Now you got him all to yourself what you gonna do?
You're the one who set the trap you know it's up to you,
Call the shots, open the cage, you know he won't run through.

Sure the boy was green his heart was on the line.
Seventeen and lonely and biding his time.
Sure the boy was green his heart was on the line.
Seventeen and lonely and biding his time.

Torch-bearing lady see this kid, he's in love with you.
Dream-selling lady he's in need, you'd better come through.

Sure the boy was green his heart was on the line.
Seventeen and lonely and biding his time.
Sure the boy was green his heart was on the line.
Seventeen and lonely and biding his time.

Live Version

Here’s a live version of “Sure the Boy was Green” recorded from a live rehearsal in 2009. Drummer Eamon Carr, who remains a member of the band, no longer performs live. On drums is guitarist Johnny Fean’s brother Ray handles the drums during engagements.

This live version has Barry Devlin playing an Ampeg Dan Armstrong Plexi-bass. I always thought that the see-through Dan Armstrong plexiglass guitars and basses were some of the neatest instruments of the 1970s. It is said the density of the plexiglass creates better sustain than a wood made electric.

Charles O’Conner is on an electric mandolin; however, I can’t ascertain the brand as I’ve never seen one quite like this. Johnny Fean is playing one of his two 1959 Gibson Les Paul Juniors. The ’59 Junior is characterized as having a double cutaway – the only year Gibson utilized this body style and is much sought after by collectors.

While Fean’s Junior appears to have a natural finish, it is actually cherry red. The stain is a little more transparent than later cherry red Gibsons. Add a little aging that causes the finish to fade and illuminate with stage lights and the red color appears to be completely washed out and yellow.