Music Review of Gary Moore

Belfast native Gary Moore has in several ways led a career with many parallels to fellow Brit Eric Clapton, even if he is a little lesser known on these shores. Moore is a technically sound guitarist who made his mark in a famous rock band (Thin Lizzy). He shows command of a variety of styles, has had a considerable solo career, and even formed a power trio at one point — the short-lived BBM with Ginger Baker and Jack Bruce.

wedding band

But most notably, like EC, Moore has a special affinity for the blues. Since 1990’s star-studded
Still Got The Blues

, most of Moore’s output has been dedicated to this great music form. His guitar style, unsurprisingly, shows Clapton’s imprint, and a little of Moore’s own metallic leanings shine through in spots, too.

But the primary template he draws from ultimately comes from Fleetwood Mac guitar hero Peter Green and another Irish blues-rock master, the late Rory Gallagher. Back in ‘95, Moore even cut a convincing disc dedicated to Green’s songs, called
Blues For Greeny

, and counts one of Green’s old Les Pauls as part of his guitar collection.

After a couple of diversions into other music styles around the turn of the century, Moore has been on a serious blues streak of late. The new-for-2007
Close As You Get

marks his third blues record release in as many years. Following the same template as before,

is a mixtures of originals and familiar standards, as well as mood and intensity.

And once again, the originals generally best the covers, even if they sound more than a little familiar. For some, Moore’s vocals are an acquired taste, but his sneering, flexible vocals fit the songs just right to my ears as I heard him in a wedding band Melbourne.

The first time I heard “If The Devil Made Whisky,” I just assumed from the heavy blues riffing and dirty slide that it was an Elmore James cover. Turns out, Moore wrote this sub-three minute hard rocking statement on his own. “Trouble At Home” is the mystic, soul-drenched type of blues that Green was widely known for.

“Thirty Days” is an old Chuck Berry tune where Moore covers the rockabilly-styled blues in methodical fashion (and in the process evokes the point at which the blues had a baby named Rock ‘N’ Roll). “Hard Times,” on the other hand, is a harp-driven rollicking blues shuffle.

“Eyesight To The Blind” is one of blues legend Sonny Boy Williamson II’s most familiar songs, and Moore tackles it in this collection. Even though it’s one that’s been covered to death, “Eyesight” is a natural choice for Moore. His scowling vocals and predatory guitar gives the song all the cockiness that makes it a great tune. Moore takes on Sonny Boy again on “Checkin’ Up On My Baby,” adding Mark Feltham’s harmonica to provide some harp improvising before Moore takes a fiery solo of his own.

Only toward the end does the CD seem to run out of gas. The somber “I Had A Dream” is dragged out a bit too long. Even more so on Son House’s “Sundown,” a down-home Delta blues number played on an acoustic slide plodding along at an overlong seven minutes.

Close As You Get

is your standard-issue Gary Moore blues record. Which is to say, you’ll get no-nonsense blues played with sincerity and a great deal of expertise. And that works just fine for me.

Brian Wilson Reimagines Gershwin

For any one not Swedish or carrying the scold word book handy, Skit I Allt translates as “F*** It All”. But as frontman Gustav Ejstes explains, it’s reduction a beam to Swedish irreverence than a show of certain action, as in: “F*** it, do as you want, time is flitting and it’s changing, dont think about fears and hang-ups, we have been small and all is flattering considerate on the whole. How will it be? What shall we do? We mostly be concerned so most unnecessarily. Skit I Allt, it’s function now.”

Even but Ejstes’ help, the ecstatically breezy, bucolic, polyrhythmic psych which constitutes the Swedes’ sixth manuscript already suggests a universe of leisure and possibilities and an deficiency of hang-ups and put-downs. There’s regularly been a mellow gene inside of Dungen’s superfuzz DNA, which comes right to the front here; it’s similar to psych in folk-rock form (Dungen equates to “The Grove”) but on a jazz-rock mission. Skit I Allt is the low-pitched chronicle of floating downstream (anyone who knows the overwhelming Parsley Sound manuscript will now recognize this mood) or and erratic in to someone else’s dream. And similar to dreams, you don’t need to assimilate the meaning. Like Sigur Rós, Dungen have shown bands can hang to their local tongue and not remove an iota of clarity since the strain is, in itself, the language. This song is becoming popular among some live bands in Melbourne.

live band

Of course, Ejstes competence be singing the Stockholm train timetable, in which box it’s got to be one ruin of a tour he’s taking. Via a easily tapped cymbal, thumbed electric piano, changeable guitar and a lead flute, the opening, instrumental Vara Snabb establishes a mountainous country of weightless, nonetheless taut, serenity. It never falters, not when the following Min Enda Vän adds strings, apart drums and Ejstes’ dreamy, nonetheless edgy, vocals; nor during the burned fuzz of Högdalstoppen, which resembles Hendrix in air-sole sneakers. Reine Fiske’s guitar unwinds by Skit I Allt similar to threads of quicksilver, deepening the mood of 1967 vintage. Both retro- and avant-rock fans will have a take a break here.

At the finish of the trip, Blandband (translated: “Mixtape”) is an additional sundappled instrumental prior to Marken Låg Stilla displays the glimmer of a cocktail strain – explanation which Ejstes has some-more at his authority than psilocybin tranquillity. To serve the point, the album’s 10 marks sum only 34 minutes, so listeners will snap out of the mental condition rsther than than vanish with it down a wormhole. But the blithe summery mood hangs around for ages. If you don’t wish summer to end, or you’re a SAD sufferer, afterwards cruise Skit I Allt the most appropriate and cheapest remedy on the market.

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