BBM – Around The Next Dream (1994)

The rock band BBM was a short-lived British supergroup.

The letters stand for the surnames of the three band members Jack Bruce, Ginger Baker and Gary Moore. The band played blues rock in the style of Cream, only Eric Clapton had been replaced by Gary Moore. Nevertheless, the band was only formed by chance. Originally, Gary Moore wanted to record a solo album together with Jack Bruce and drummer Gary Husband from Level 42. After recording the two tracks “Blues for Narada” and “With Love (Remember)” (both songs were released on Moore’s 1994 solo album Ballads & Blues), Husband didn’t have time for another collaboration. Jack Bruce then contacted his old band mate Ginger Baker, as Baker, Bruce and Moore had already played together at a Jack Bruce anniversary concert shortly before. Now that 2/3 of Cream were back together, the solo project was transformed into a band project.

The band’s studio album Around the Next Dream was released in 1994 and reached number 9 in the UK album charts.[3] There were also several live concerts, including at the Schüttorf Open Air. The song “One Day” was not included on the album, as the band felt that there were already enough ballads on there. Instead, Moore released the BBM song in the same year under his own name as a single and on the solo album Ballads & Blues.

In 1998, Bruce, Husband and Moore finally collaborated. Together they recorded the Jack Bruce video The Cream of Cream, which contains six new recordings of old Cream classics. The three of them also worked as a trio on the Gary Husband video Interplay and Improvisation on the Drums in the same year and in 2002 on the album From Clarksdale to Heaven – a John Lee Hooker tribute – and gave several concerts in England.

Jack Bruce said in an interview in 2001 that the band was particularly good live and that he was planning a second album with Moore (wikipedia).

Any time Ginger Baker and Jack Bruce work together, comparisons to Cream are inevitable. Given that this album’s opener, “Waiting in the Wings,” bears a passing resemblance to “White Room,” and that this is then followed by a “Crossroads” knockoff, perhaps the comparisons are justifiable. Unfortunately, BBM doesn’t benefit from such self-plagiarism. The weak link is, surprisingly, not with the Clapton stand-in, Gary Moore — it’s in the underwhelming drumming and bass playing by the two bona fide Creamsters. Bruce’s voice is as pleasing as ever, but his and Baker’s merely competent English blues instrumental work will fall short of the expectations of fans who know what they’re capable of. (by Paul Collins)

This recording provides a constant stream of déjà vu experiences: in five songs on their trio album, Baker, Bruce & Moore sound like the original Cream a quarter of a century ago. “White Room”, “Crossroads”, “Dance The Night Away”, “Pressed Rat And Warthog” – anyone who (still) has these songs in their ears will recognise entire melody particles and rhythmic figures, and Gary Moore imitates Eric Clapton’s guitar technique of the time meticulously. The other five tracks, sometimes ballad-like soft, sometimes hearty blues-rock, are blueprints of Moore’s successful blues sketches. It’s all good, but it’s not entirely new. (Stereoplay)

It’s dinosaur time: Ginger Baker and Jack Bruce have teamed up with Gary Moore for their Cream reunion – and fiercely deny that the whole thing has anything to do with Cream. Moore on the other hand – as if he had to prove that he is a convincing replacement for a veteran like Eric Clapton – quotes a well-known guitar solo in the very first bars of the CD, giving oldie freaks a little musical puzzle. Apart from that, the CD is pleasingly credible and, despite its rather antiquated blues rock sound, seems a little dusty. (Audio)

Personnel:
Ginger Baker
Javck Bruce (keyboards on 10.)
Gary Moore (
+
Arran Ahmun (drums on 02.)
Morris Murphy (trumpet on 06.)

Tracklist:
01. Waiting In The Wings (Moore/Bruce) 3.43
02. City Of Gold (Moore/Bruce/Hanrahan) 3.57
03. Where In The World (Moore/Bruce) 5.22
04. Can’t Fool The Blues (Moore/Bruce/Hanrahan) 5.15
05. High Cost Of Loving (Jones/Hamlett) 5.40
06. Glory Days (Moore/Bruce) 4.22
07. Why Does Love (Have To Go Wrong?) (Moore/Baker/Bruce) 8.26
08. Naked Flame (Moore) 6.06
09. I Wonder Why (Are You So Mean To Me) (Lyons) 4.59
10. Wrong Side Of Town (Moore) 3.57

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Gary Moore – Still Got The Blues (1990)

Robert William Gary Moore (4 April 1952 – 6 February 2011) was a Northern Irish musician. Over the course of his career he played in various groups and performed a range of music including blues, blues rock, hard rock, heavy metal, and jazz fusion.

Influenced by Peter Green and Eric Clapton, Moore began his career in the late 1960s when he joined Skid Row, with whom he released two albums. After Moore left the group he joined Thin Lizzy, featuring his former Skid Row bandmate and frequent collaborator Phil Lynott. Moore began his solo career in the 1970s and achieved major success with 1979’s “Parisienne Walkways”, which is considered his signature song.

During the 1980s, Moore transitioned into playing hard rock and heavy metal with varying degrees of international success. In 1990, he returned to his roots with Still Got the Blues, which became the most successful album of his career. Moore continued to release new music throughout his later career, collaborating with other artists from time to time. Moore died on 6 February 2011 from a heart attack while on holiday in Spain.

Moore was often described as a virtuoso and has been cited as an influence by many other guitar players. He was voted as one of the greatest guitarists of all time on respective lists by Total Guitar and Louder. Irish singer-songwriter Bob Geldof said that “without question, [Moore] was one of the great Irish bluesmen”. For most of his career, Moore was heavily associated with Peter Green’s famed 1959 Gibson Les Paul guitar. Later he was honoured by Gibson and Fender with several signature model guitars. (wikipedia)

Still Got the Blues is the eighth solo studio album by Northern Irish guitarist Gary Moore, released in March 1990. It marked a substantial change in style for Moore, who had been predominantly known for rock and hard rock music with Skid Row, Thin Lizzy, G-Force, Greg Lake and during his own extensive solo career, as well as his jazz-fusion work with Colosseum II. As indicated by its title, Still Got the Blues saw him delve into an electric blues style.

The album features guest contributions from Albert King, Albert Collins and George Harrison.

The title track was released as a single and reached No. 97 on the Billboard Hot 100 on 16 February 1991. It is the only single of Moore’s to chart on the Billboard Hot 100.

The album reached No. 83 on the Billboard 200 on 16 February 1991, then was certified gold by the RIAA in November 1995. This was Moore’s most successful album both in terms of sales and chart position in the US. (wikipedia)

And here´s is his legendary Blues album:

When you take a closer look at the career of Gary Moore, his love for the Blues is no secret. This legendary music was clearly present in the influences of the groups in which he started, that it is Skid Row (the Irish group not to be confused with the combo US of Rachel Bolan) or Thin Lizzy. So it would not be extraordinary to imagine that the young boy practicing his scales under the look of a Jimi Hendrix poster represents Gary Moore in his childhood. What is more surprising is the content of this new album, even if its title has the merit to warn the listener with frankness. A mix of compositions and covers of the greats of the genre, “Still Got The Blues” marks a serious change of direction for the famous six-stringer, abandoning for the occasion the racy hard rock of his previous albums.

Surrounded by a line-up with variable geometry according to the titles, and calling as well on some faithful stars such as Bob Daisley (bass) or Don Airey (keyboards, piano, direction of the sections of strings) as on true legends of the Blues, Gary Moore pays a true homage to the musical style without which no branch of the Rock, that it is Hard, Heavy or others, would exist currently. And so that his approach cannot be questioned, he goes so far as to play with the legendary Albert Collins on “Too Tired”, composed by Johnny “Guitar” Watson but made famous by Collins. Reinforced by a horn section and Don Airey’s fiery piano, this dynamic Blues-Rock comes and blows us away for an exciting result. This feeling is also present on the whole album, especially on the three tracks paying tribute to another idol of Gary Moore: Albert King.

It is first of all “Oh Pretty Woman”, swaying Blues composed by A.C Williams made famous by King himself, and occasion to compare the old-fashioned playing of the legendary guitarist with the more electric interventions of the master of the place. With “King Of The Blues”, Gary offers a majestic and dynamic composition, also reinforced by a brass section and the Hammond organ of Airey, and counting the history of this living god. Finally, the feeling flows on the cover of Deadric Malone’s “As The Years Go Passing By”. A languorous and intimate ballad, illuminated by a superb piano solo from Nick Hopkins, it proves that Moore has often listened to the famous version that King offered in the past.

It is difficult to quote each title of this album called to become a must of the genre. We will however pay homage to the 2 superb ballads composed by the Irish guitarist, that it is the eponymous title gorged with emotions and with the unstoppable riff, or a “Midnight Blues” all in roundness and delicacy. As for the tracks written by our host, “Texas Strut” is a tribute to the bearded men of ZZ Top with its hyper dynamic boogie and its vocal gimmick borrowed from “La Grange”. Finally, we will not forget to point out the presence of George Harrison on slide and chorus on the cover of his “That Kind Of Woman”, acting as a break more Rock in the middle of this joyful flood of Blues in all its forms.

Once the surprise effect is over, “Still Got The Blues” stands out as a remarkable Blues-Rock album, halfway between the tribute to the legends of the genre and the real work of composition. New proof of Gary Moore’s talent, it confirms his status of guitar-hero as well as reveals his elusive genius capable of imposing himself in different styles without us ever knowing where he will strike. (musicwaves.org)

Personnel:
Don Airey (keyboards)
Albert Collins (guitar)
Bob Daisley (bass)
Brian Downey (drums)
George Harrison (guitar, vocals)
Nicky Hopkins (keyboards)
Albert King (guitar)
Gary Moore (vocals, guitar)
Andy Pyle (bass)
Graham Walker (drums)
Mick Weaver (piano)
Gavyn Wright (strings)
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trumpet:
Stuart Brooks – Raul d’Oliveira – Martin Drover

saxophone:
Frank Mead – Nick Payn – Nick Pentelow 

Tracklist:
01.Moving On (Moore) 2.39
02. Oh Pretty Woman (Williams) 4.25
03. Walking By Myself (Rogers) 2.57
04. Still Got The Blues (For You) – (Moore/Winter) – 6:12
05. Texas Strut (Moore) – 4:51
06. Too Tired – (Watson/Davies/Bihari) – 2:51
07. King Of The Blues (Moore) – 4:36
08. As The Years Go Passing By (Malone) – 7:46
09. Midnight Blues (Moore) – 4:58
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10. That Kind Of Woman (Harrison) – 4:32
11. All Your Love (Rush) – 3:32
12. Stop Messin’ Around (Davis/Green) – 4:00
13. The Stumble (Instrumental) Freddy King, Sonny Thompson 3:01
14. Left Me With The Blues (Moore) 3:05
15. Further On Up The Road (Robey/Medwick) 4:08
16. Mean Cruel Woman (Moore) 2:48
17. The Sky Is Crying (James) 4:54

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More from Gary Moore:

The official website:

Gary Moore – We Want Moore (1984)

We Want Moore! is a live album by Irish guitarist Gary Moore, released in 1984.

This album is a jaw-dropping affair for anyone who believes that Eddie Van Halen is the ultimate guitar-shredding experience. Gary Moore’s classic live album We Want Moore! is about as good as it gets. Drawing mainly from the Irish guitarist’s previous two studio albums, every cut gets a shot in the arm from Moore’s extended soloing, most notably the Yardbird’s “Shapes of Things” at almost nine minutes. Recorded in places as distant as Tokyo, Glasgow and Detroit, the performances also benefit from the impressive vocal tag team between Moore and rhythm guitarist Neil Carter. (by Eduardo Rivadavia)

“We Want Moore” is Gary Moore’s first official live album to be available worldwide (Rockin’ Every Night was initially only available in Japan) and is not only a superb live album but also one of the strongest albums he has ever recorded. It is clear from the off that Moore is keen to show off his metallic side with album opener Murder In The Skies, which was one of the standout tracks from his brilliant Victims Of The Future album and remains one of the heaviest tracks he has ever recorded. Although the guitarist isn’t exactly a natural vocalist, his vocals are more than adequate for the job in hand and are reasonably consistent throughout this live album. In fact it wouldn’t be too much of a stretch to say that his vocals actually sound better at times here than they did on his two previous studio albums, however keyboard player and rhythm guitarist Neil Carter does take over on lead vocals on occasion.

Moore’s take on The Yardbirds classic Shapes Of Things follows on from the energy of the album’s opener and features a truly breathtaking extended guitar solo, which shows that Moore’s guitar skills are right up there with the greats.

Following a blistering performance of the title track from his previous album, Victims Of The Future, Cold Hearted marks the albums first song from 1982’s Corridors Of Power and is possibly one of the bluesiest tracks on the album and hints towards Moore’s later days as a blues guitarist/singer. This version of Cold Hearted also incorporates an extended version of the intro to the next song, the epic End Of The World. End Of The World, also from the Corridors Of Power album is quite possibly one of the best songs he has ever recorded and features some truly jaw-dropping guitar playing particularly during the intro. This live version certainly does the song justice, there’s just one thing missing from the studio version; Jack Bruce’s vocals. Former Cream member Jack Bruce, who provided lead vocals for the original version of the song, unfortunately does not make a guest appearance on this album, however, between them, Gary Moore and Neil Carter manage to do a good job of the vocals and this version is energetic, dramatic and overall a fine performance of a truly great metal song.

Back On The Streets, with it’s sing-a-long chorus, provides a bit of light-hearted relief following the darker, heavier sound of the previous song and is one of only two songs on the album not taken from either Corridors Of Power or Victims Of The Future. This is followed by the emotional ballad, Empty Rooms, before Moore and his boys launch back into much heavier territory with the opening track from Corridors Of Power, Don’t Take Me For A Loser.

Closing track, Rockin’ And Rollin’ is the only track on the album taken from 1980’s G-Force album and is a great way to close the album, the song features a surprising guest appearance from Jimmy Nail, who, in Gary Moore’s words, gives the crowd “a singing lesson”. All this leaves you and evidently the crowd wanting mo(o)re…

Overall this is an astonishingly good live album by a criminally underrated musician and like Moore himself, doesn’t get the recognition it deserves. We Want Moore is the kind of live album that can leave you with a big smile on your face as well as leaving you awestruck by the band’s (and in this case particularly the guitarist’s) technical ability. It is possibly Gary Moore’s best and most consistent heavy metal album, and is a good place to start if you’re looking to get into early to mid 80’s era Gary Moore. This is one of those live albums that makes you wish that you could have been there, but if you weren’t, listening to this is a damn good compromise. (by Jamie Twort)

Personnel:
Neil Carter (keyboards, guitar, background vocals)
Bobby Chouinard (drums on 01. – 03. + 09.)
Craig Gruber (bass, background vocals)
Gary Moore (vocals, lead guitar)
Ian Paice (drums, percussion on 04. – 08 + 10.)
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Phil Lynott (bass, vocals on 11.)
Jimmy Nail (background vocals on 10.)
Paul Thompson (drums on 11.)

Tracklist:
01. Murder In The Skies ( Moore/Carter) 5.33
02. Shapes Of Things (Samwell-Smith/Relf/McCarty) 8.14
03. Victims Of The Future (Moore/Carter/Paice/Murray) 8.25
04. Cold Hearted (includes “Majestuoso E Virtuoso” and “White Knuckles” from other concerts) (Moore) 10.24
05. End Of The World (Moore) 4.33
06. Back On The Streets (Moore) 5.21
07. So Far Away (Foster/Russell) 2.39
08. Empty Rooms (Moore/Carter) 8.31
09. Don’t Take Me For A Loser (Moore) 5.43
10. Rockin’ And Rollin’ (Moore/Nauseef) 6.15
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11. Parisienne Walkways (Moore/Lynott) 7.04 (*)

(*) Recorded live at the Ulster Hall, Belfast, Northern Ireland, 17 December 1984

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Gary Moore – Back On The Streets (1978)

Back on the Streets is an album by Northern Irish blues-rock guitarist Gary Moore, released in 1978, and his first authentic solo record (1973’s Grinding Stone album being credited to The Gary Moore Band). Thin Lizzy bassist/vocalist Phil Lynott and drummer Brian Downey appear on four songs, including “Don’t Believe A Word” (which originally appeared on the 1976 Thin Lizzy album Johnny the Fox) and the UK top 10 single “Parisienne Walkways”. On the album’s sleeve, Moore is depicted leaving notorious prison Wormwood Scrubs in the Inner London Borough of Hammersmith and Fulham in a photograph by Chalkie Davies.

The album was re-issued in 1989 by Grand Slam Records with a revised playing order and an additional track (“Spanish Guitar”). More bonus tracks were available for download and on the Universal Music Group Remastered CD edition of 2013. The tracks “Road of Pain” and “Track Ten” recorded in the same sessions, remain at the moment unreleased. Yet another release with title Back on the Streets, but no other apparent connection to the original album, is a 2003 compilation of Gary Moore’s greatest hits. (by wikipedia)

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl. But due to Robbo’s increasing unreliability, Moore was persuaded to stay on and record Lizzy’s Black Rose album in exchange for Lynott’s help in shaping his own solo effort, Back on the Streets. And a good trade it was, too, as with the exception of the title track’s gutsy hard rock, Lynott’s singing and songwriting contributions wound up providing the album with its most coherent and satisfying moments.

These included the highly amusing “Fanatical Fascists,” a mellow reworking of Lizzy’s “Don’t Believe a Word,” a whimsical acoustic ballad called “Spanish Guitar,” and the simply exquisite Moore tour de force “Parisienne Walkways.” Unfortunately, these are rudely interrupted by a number of misplaced instrumental fusion workouts (no doubt G-Force leftovers) and a terribly saccharine ballad called “Song for Donna.” Half winner, half dud, the album would at least serve notice of Moore’s rebirth as a solo artist, and he would show marked improvement on his next album, Corridors of Power. (by Eduardo Rivadavia)

Personnel:
Don Airey (keyboards)
Brian Downey (drums, percussion)
Phil Lynott (bass, guitar on 03, vocals on 02., 03., background vocals)
Gary Moore (guitar, vocals, bass on 01., guitar synthesizer, mandolin, accordion on 08.)
+
John Mole (bass on 04. – 07.)
Simon Phillips (drums, percussion on 01., 04. – 07.)

Tracklist:
01. Back On The Streets (Moore/Campbell) 4.26
02. Don’t Believe A Word (Lynott) 3.54
03. Fanatical Fascists (Lynott) 3.06
04. Flight Of The Snow Moose (Moore/Campbell) 7.26
05. Hurricane (Moore/Campbell) 4.54
06. Song For Donna (Moore/Campbell) 5.32
07. What Would You Rather Bee Or A Wasp (Moore/Campbell) 4.56
08. Parisienne Walkways (Lynott/Moore) 3.21

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Greg Lake (feat. Gary Moore) – In Concert (1995)

King Biscuit Flower Hour Presents Greg Lake in Concert is a live album recorded by Greg Lake live in concert on November 5, 1981. It was recorded at the Hammersmith Odeon in London, England and aired on the King Biscuit Flower Hour radio broadcast. It was first released on CD in 1995. Recording mastered at PolyGram Studios. The CD was mastered at Dolphin Studios.[2]King Biscuit Flower Hour Presents Greg Lake in Concert is a live album recorded by Greg Lake live in concert on November 5, 1981. It was recorded at the Hammersmith Odeon in London, England and aired on the King Biscuit Flower Hour radio broadcast. It was first released on CD in 1995. (by wikipedia)

The show captured on King Biscuit Flower Hour (In Concert) (1996) was recorded circa Greg Lake’s 1981 self-titled debut, and features Lake (guitar/bass/vocals) leading an impressive backing combo with Gary Moore (guitar), Ted McKenna (drums), Tommy Eyre (keyboards), and Tristian Margetts (bass). The set originated as a King Biscuit Flower Hour broadcast from the Hammersmith Odeon in London on November 5, 1981. During this time, Lake was on an extended hiatus from Emerson, Lake and Palmer (ELP), and issued a pair of solo efforts.

Alternate FrontCover

As such, the play list is heavy on Greg Lake(1981) material from the first of these. Standouts among the lot are the slightly synth sounding “Retribution Drive,” and the edgy-’80s power rockers “The Lie” and “Nuclear Attack.” Also worth mentioning is the upbeat and agile “Love You Too Much,” which Lake actually co-wrote with Bob Dylan. Likewise, there are classics dating back to the King Crimson sides — “21st Century Schizoid Man” and “In The Court Of The Crimson King” — from Lake’s brief tenure in the band. The unit heard here is not as lean as the ELP version, and both “Fanfare For The Common Man” and “Karn Evil 9” prove just that, as the arrangements lumber along in places. However, in terms of sheer musicality, the acoustic side, “Lucky Man,” is arguably the highlight in its simplicity. For enthusiasts looking for a passable anthology, From the Beginning: Retrospective (1997) is a good place to start. From the Underground: The Official Bootleg (1998) is a perfect companion, as it features essential stops in Lake’s live legacy. (by Lindsay Planer)

Personnel:
Tommy Eyre (keyboards, vocals)
Greg Lake (vocals, guitar)
Tristram Margetts (bass)
Ted McKenna (drums)
Gary Moore (guitar, vocals)

Tracklist:
01. Fanfare For The Common Man – Karn Evil 9 (Copland/Emerson/Lake/Sinfield 6.10
02. Nuclear Attack (Moore) 5.46
03. The Lie (Benyon/Eyre/Lake) 4.34
04. Retribution Drive (Benyon/Eyre/Lake) 5.41
05. Lucky Man (Lake) 4.50
06. Parisienne Walkways (Lynott/Moore) 6.03
07. You’ve Really Got A Hold On Me (Robinson) 5.25
08. Love You Too Much (Dylan/Lake/Springs) 5.03
09. 21st Century Schizoid Man (Fripp/McDonald/Lake/Giles/Sinfield) 9.07
10. The Court Of The Crimson King (McDonald/Sinfield) 5.40

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Various Artists – From Clarksdale To Heaven – Remembering John Lee Hooker (2002)

For the first of two tribute albums to John Lee Hooker, executive producer Arnie Goodman of Blue Storm Music has assembled an impressive list of British musicians from the 1960s who helped spark the ’60s blues revival that was responsible for the ascension of Hooker (among others) into legendary status. The biggest name on his own is Jeff Beck, who plays guitar on “Will the Circle Be Unbroken” and “Hobo Blues,” but other notable figures include Cream’s Jack Bruce, Leo Lyons and Ric Lee from Ten Years After, Procol Harum’s Gary Brooker, ex-Rolling Stone Mick Taylor, former Fleetwood Mac leader Peter Green, and Gary Moore. The performers are reverent toward Hooker’s music, maintaining its relentless rhythmic power and even at times re-creating the master’s haunting mumble of a voice. The set is not entirely given over to the Brits, however, as it opens with “I Want to Hug You,” sung by Hooker’s daughter, Zakiya, and ends with Hooker himself, accompanied by Booker T. Jones and Randy California, among others, performing a previously unreleased “Red House” that was cut for a Jimi Hendrix tribute album. There is also a newly written song (“The Business”) penned by Grateful Dead lyricist Robert Hunter and Bay Area musician Greg Anton that was earmarked for a Hooker project never recorded due to his death. Such tracks provide some variety, but the strength of the album is still in the devoted performances of people like Beck and Green. (by William Ruhlmann )

From a child of his body and the children of his music, this is a chance to pay respects to the man who made his guitar a blacksmith’s anvil and pounded out rhythms of sorrow. Look for Jack Bruce’s Ozzy Osbourne-like sneer on “I’m in the Mood,” along with Gary Moore’s Godzilla footsteps on guitar. That’s Jeff Beck playing robot-metallic notes on “Will the Circle Be Unbroken” and “Hobo Blues,” and Peter Green’s vocal sounds like a decaying zombie obeying his master on “Crawling King Snake.” John Lee himself paints a “Red House” with something other than crimson pigment, and I’ve got to credit Robert Hunter’s composition, “The Business,” by Greggs Eggs vocalist Suzanne Sterling for giving the old man that special smile with a posthumous kiss. (by Mitchell Lopate)

Personnel:
Jeff Allen (drums)
Michael Bailey (bass, background vocals)
Richard Bailey (drums)
Jeff Beck (guitar)
Gary Brooker (piano, vocals)
Jack Bruce (bass, vocals)
Randy California (guitar)
Dave “Clem” Clempson (guitar)
Vince Converse (guitar, vocals)
Tony Cook (guitar)
David Daniel (bass)
Bruce Gary (drums)
Earl Green (vocals)
Peter Green (guitar, harmonica)
Kenny Greene (drums)
Dave Hadley (bass)
Dick Heckstall-Smith (saxophone)
John Lee Hooker (guitar, vocals)
Zakiya Hooker (vocals)
Gary Husband (drums)
Johnnie Johnson (piano)
Booker T. Jones (organ)
Ric Lee (drums)
Andy Fairweather Low (guitar)
Leo Lyons (bass)
Godfrey McLean (drums)
T.S. McPhee (guitar, vocals)
Max Middleton (piano)
Dave Moore (piano)
Gary Moore (guitar)
Bobby Murray (guitar)
Matt Pegg (bass)
Henry Spinetti (drums)
Peter Stroud (bass)
Mick Taylor (guitar, vocals)
Nigel Watson (guitar)
Chris Wilson (bass)

Tracklist:
01. Zakiya Hooker, Johnnie Johnson, Bobby Murray: I Want To Hug You (Hooker) 4.04
02. Jack Bruce + Gary Moore: I’m In The Mood (Besman/Hooker) 6.19
03. LLC-Vince Converse, Leo Lyons, Ric Lee: Bad Like Jesse James (Hooker) 7.07
04. Jeff Beck: Will The Circle Be Unbroken (Traditional) 6.08
05. Gary Brooker + Andy Fairweather-Low: Baby Lee (Bracken/Hooker) 4.48
06. T.S. McPhee, Dick Heckstall-Smith: Ground Hog Blues (Hooker) 5.44
07. Mick Taylor + Max Middleton: This Is Hip () 3.50
08. Peter Green Splinter Group: Crawlin’ King Snake () 5.41
09. T.S. McPhee, Dick Heckstall-Smith, Clem Clempson: I’m Leaving () 5.25
10. Gary Brooker + Andy Fairweather-Low: Little Wheel () 5.34
11. Greggs Eggs: The Business () 4.36
12. Jeff Beck: Hobo Blues () 5.52
13. Gary Moore + Jack Bruce: Serve Me Right To Suffer () 6.24
14. John Lee Hooker, Booker T, Randy California: Red House (Hendrix) 4.57
(Prevously unreleased song with J.L. Hooker)

 

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Gary Moore – Live – Hammersmith Odeon (1984)

Recorded from a BBC Rock Hour Syndication record, this set finds Gary Moore at the start of his days with the Virgin label playing tracks from the albums Corridors Of Power and Victims Of The Future, playing in a near heavy metal style, before his ventures into Celtic rock and blues music. (Philip Cohen)

The BBC reported in2011:

Renowned rock guitarist Gary Moore has died in a hotel room while on holiday in Spain. Moore, 58, originally from Belfast, was a former member of the legendary Irish group Thin Lizzy. Thin Lizzy manager Adam Parsons told the BBC he was found early on February 6. Moore was originally drafted into Thin Lizzy by its late frontman Phil Lynott. He later gained acclaim for his solo work and was a former member of the Irish group Skid Row.

Blues-rock, rock, heavy metal and back to the blues, Irish guitarist Gary Moore had played them all but he seemed better known for his hard rock/heavy metal days. Fans have even commented that his best work were from the hard rock days of the ’80s. Once again, it’s thanks for the memories.

Recorded live at the Hammersmith Odeon, London, February 11, 1984.
BBC Rock Hour, broadcast April 15, 1984.
Very good radio broadcast.

Thanks to Phil for sharing the tracks.

Personnel:
Neil Carter (keyboards, guitar, vocals)
Craig Gruber (bass)
Gary Moore (guitar, vocals)
Ian Paice (drums)

Tracklist:
01. Introduction/Wishing Well (Rodgers/Kirke/Yamauchi/Kossoff/Bundrick) 5.08
02. Murder In The Skies (Moore/Carter) 5.00
03. Shapes Of Things To Come (Samwell-Smith/Relf/McCarty) 4.35
04. Don’t Take Me For A Loser (Moore) 5.34
05. End Of The World (Moore) 7.19
06. Empty Rooms (Moore) 10.48
07. Back On The Streets (Moore/Campbell) 5.00
08. Nuclear Attack (Moore) 6.15

Alternate frontcovers

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Gary Moore – Live At Monsters Of Rock (2003)

This latest incarnation of Gary Moore is an extremely impressive thing to behold. I saw him play the night before he recorded this show and was just blown away! He is performing with his recent band, Scars, but despite only having a three-piece set up, the depth of sound is not lost at all. He moves away from the blues music that dominated his 1990’s and plays a mix of his 80’s rock numbers and some songs from his most recent album. This, topped with the slow version of “Dont Believe a Word” that it is claimed has not been recorded before, Out in the Fields, Parisienne Walkways, and also a cover of Free’s “Wishing Well” will leave you very very happy… (by T. Hopkins)

 

Personnel:
Cass Lewis (bass)
Darrin Mooney (drums)
Gary Moore (guitar, vocals)

Tracklist:
01. Shapes of Things (Samwell-Smith/Relf/McCarty) 5.02
02. Wishing Well (Yamauchi/Rogers(Kirke/Kossoff/Bundrick) 4.32
03. Rectify (Gary Moore/Cass Lewis/Darrin Mooney) 5.10
04. Guitar Intro (Moore) 2.16
05. Stand Up (Moore/Lewis/Mooney) 6.08
06. Just Can’t Let You Go (Gary Moore/Cass Lewis/Darrin Mooney) 9.22
07. Walking by Myself (Rodgers) 4.52
08. Don’t Believe a Word (Lynott) 7.15
09. Out in the Fields (Moore/Lynott) 8.50
10. Parisienne Walkways (Moore/Campbell) 9.22

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