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BMG [Release date 24.04.26]
Blues and rock guitarist extraordinaire Gary Moore, who sadly died in 2011, left quite a legacy, whether the solo blues or rock or with other artists such as Thin Lizzy. BMG continue their reissue campaign with three mid-00’s albums, and a much overlooked live set.
Kicking off with 2006’s Old New Ballads Blues, this with Moore’s 15th studio album, and features pianist Don Airey, drummer Darrin Mooney (Primal Scream) and bassist Jonathan Noyce. By 2006 Moore had already explored blues in a gentler and trad rocking form, and a more experimental if angular hard rock, so much of the blues here (covers and original numbers) is modern, sometimes quite edgy.
Opener ‘Done Somebody Wrong’ (Elmore James) is quite upfront but the blues feel with hints of slide guitar is equally strong. ‘You Know My Love’ (Willie Dixon) is gentler, with horns and keyboards a more big band sound. Not only is this a wonderful and well produced piece of music, but Moore’s vocals are strong and honest too.
‘Midnight Blues’ is the first of two songs Moore had previously recorded, giving it an update here. Another gentle yet solid and modern sound. ‘Ain’t Nobody’ is more uptempo and catchy, Moore able to switch styles, pace and moods readily. A wonderful album and a period that doesn’t get enough love in the press or from fans.
The following year’s Close As You Get saw more blues, with a different line-up. In came Brian Downey (Thin Lizzy), keyboard player Vic Martin, bassist Pete Rees and harmonica player Mark Feltham. And boy what an album!
Opener ‘If The Devil Made Whiskey’ is a great blues boogie with a dirty sounding rhythm and some solid slide guitar on top. ‘Trouble At Home’ is a gentler and thoughtful, almost atmospheric blues number. Then the uptempo rock’n’roll of Chuck Berry’s ‘Thirty Days’ (the first of several covers).
Change of pace and a moody feel for ‘Hard Times’. And what’s great about Moore’s guitar is it tells you everything you need to know without overplaying. When he shreds he does so for good reason, but if the rhythm’s rolling and a few interjections will do, then that’s what you get. Two seven minute tracks close the album, the latter, ‘Sundown’, an acoustic number showcasing another side to Moore’s wonderful guitar skills. Great stuff.
2008’s Bad For You Baby adds drummer Sam Kelly and guest Otis Taylor adds banjo on Preacher Man. Solid rock blues, the title track opens and rocks, while ‘Down The Line’ adds a bluesy rockabilly edge. An enjoyable rhythm and some blistering guitar and punchy vocals.
Like the previous albums there are gentle tracks, some stripped down and some big band styled. The 10 minute take on Al Kooper’s ‘I’ll Love You More Than You Ever Know’ is wonderful. But another 9 minute track equally laid back does leave you wanting more of the rockier blues.
Lastly there’s Live At Bush Hall, a more intimate venue in Shepherd’s Bush (west London), recorded in 2007 and released originally in 2014. A mix of blues rock old and new, with his mid 00s albums well represented, and a great take on ‘Too Tire’d, and closing with ‘Walkin’ By Myself’ in such blistering form is a touch of six string genius. The gentle blues take on ‘Don’t Believe A Word’ that builds to a real rocker goes down a storm too.
Four wonderful albums, nicely presented in gatefold card sleeves with (slim) booklets, and the sound is spot on. However, no sleevenotes, and no bonus tracks. Not even ‘Picture On The Wall’, a Japanese bonus and download for ‘Bad For You Baby’, that’s a gimme if ever there was one. 5 star music, but more than one seriously missed opportunity. ***1/2
Review by Joe Geesin
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