Gary Moore - Back On The Streets (1979)

Back On The Streets was Gary Moore’s first bona fide solo album released in 1979 and featuring two of Moores’ previous (and to be future) band-mates in Thin Lizzy’s Phil Lynott and Brian Downey – along with various other musicians including the omnipresent Don Airey on keyboards, top session drummer Simon Phillips (Judas Priest, Jeff Beck etc) and ex-Colosseum II bassist Jon Mole.

Whilst the musical pedigree of the album is impeccable both in terms of composition and execution, it’s not the most flowing/consistent of albums veering from Colosseum II style jazz rock/fusion numbers to what are, basically, Thin Lizzy numbers. However, this is not a criticism as both styles have great merit but it’s just interesting to marry the two on one album.

The album kicks-off with the title track – a ballsy, straight-forward Thin Lizzy style rocker – even featuring wah-wah soloing, twin-harmony guitars and Phil Lynnot on backing vocals – followed by a down-tempo and bluesy interpretation of Thin Lizzy’s Don’t Believe A Word which works well – with Moore providing some Peter Greenesque solo flourishes – until the final few bars when the tempo increases to an upbeat shuffle.

Fanatical Fascists follows which is a very simplistic riff-driven number (and B-side to Parisienne Walkways: quite a contrast). Then, it’s almost like you’ve switched albums as Flight Of The Snow Goose begins with dissonant strings backing some McLaughlin style acoustic work from Moore before Simon Phillips fades-in and suddenly there’s Airey/Moore rekindling their Colosseum II jazz fusion partnership with Airey in particular going into Jan Hammer/Mahavishnu Orchestra mode before Moore let’s rip with a lengthy inspirational solo.

Next we’re in a track that wouldn’t have sounded out of place on Billy Cobham’s Spectrum, or indeed Colosseum II’s Electric Savage, a real uptempo jazz fusion belter with Simon Phillips turning in a polished performance and Moore really wringing out some screeching guitar soloing ably accompanied by Airey.

Next we are presented with the rather bland Song For Donna before Simon Phillips kicks in with a nicely syncopated beat ushering in What Would You Rather Bee Or A Wasp – a funky fusion number that builds nicely and again would have fitted in nicely on one of Colosseum II’s albums. Then suddenly, we’re back in Lizzy territory with the joint Lynnot/Moore-penned and sang Parisienne Walkways (a number 8 hit in the UK) that is probably Gary Moore’s most well-known track – and who’s central melody has proved fodder for generations of budding guitarists!

The re-release also features a bonus track – Spanish Guitar – which, inspite of the image conjured up by the title, is in fact a mellow rock blues ballad with the odd castanet thrown in here and there for good measure.

If you think of the largely the three facets of Gary Moore – fusion, blues and rock – all are ably demonstrated here and the variety really gives something for everyone. Above all, the sheer versatility and ability of Moore really shines through which I guess is the whole point.

• Gary Moore – Guitar/Vocals
• Phil Lynott – Bass/Vocals
• John Mole – Bass
• Don Airey – Keyboards
• Brian Downey – Drums
• Simon Phillips – Drums

Colosseum II - War Dance (1977)

Another hidden gem in rock’s back catalogue is this 1977 release from Colosseum II featuring an all-star lineup of ex-Colosseum drummer Jon Hiseman, ex-Thin Lizzy guitarist Gary Moore and ex-just about everyone keyboardist Don Airey. Whilst the album, their third, was to prove their swansong (bar a one album reformation at the request of Andrew Lloyd Webber) due to lack of commercial success, the quality of the music contained therein isn’t diminished.

The highly-polished jazz rock/fusion style created by Colosseum II was based around the musical abilities of Moore, Airey and Hiseman and their intricate interplay coupled with a melodic ear. The title track kicks off the album in style leading to the funky Major Keys which, unsurprisingly centres around a Don Airey keyboard melody: a good start.

Things really shift up a gear on Put It That Way featuring good harmony interplay between Airey and Moore with Jon Hiseman pulling out all the stops. Moore’s guitar solo on the track also stands out, as does Airey’s Hammond solo.

The only low-point for me is Castles, the sole vocal track on the album, a painfully slow track sung by Gary Moore in a warbling semi-falsetto! Fortunately, the uptempo shuffle of Fighting Talk soon erases the memory of such a faux pas with its grinding central riff and overall crashing chords and squealing guitar/keyboard melody.

The album keeps the pace then and rips through The Inquisition and Star Maiden to finish on the impressive Last Exit (somewhat a prophetic title) which begins gently enough before erupting part way through into a medium tempo piece with a screeching wah-wah solo from Gary Moore before moving uptempo for the finale.

The album really hits the spot in terms of jazz rock/fusion and if you’ve only heard Gary Moore during his later hard rock or blues phases, and Don Airey as backing for the likes of Rainbow, this album will be a real eye-opener.

• Don Airey – Keyboards
• Jon Hiseman – Drums
• Gary Moore – Guitar/Vocals
• John Mole – Bass

Rainbow - Down To Earth (1979)

Question: how do you go about replacing Ronnie James Dio? Answer: recruit a short haired bit-part actor and ex-member of 1960s obscurities The Marbles, Graham Bonnet! What an inspired move that proved to be too with Graham Bonnet providing his considerable vocal talent to a ‘new’ commercial-edged Rainbow – gone were the dragons, rainbows and mythology of the Dio era and in came shorter, chart-friendly numbers enabling Rainbow to trouble the upper echelons of the UK chart for the first time with All Night Long and Since You’ve Been Gone reaching numbers 5 and 6 respectively.

Whilst Rainbow had previously been a reasonably well-kept secret of the rock fraternity, now they became more mainstream – a move that gathered apace following Down To Earth. Quite why Down To Earth was to be Bonnet’s debut and swansong (as well as signalling Cozy Powell’s departure) I’m not overly certain but the album contains some classic tracks – including the sublime Makin’ Love.

Bonnet sings his heart out giving full reign to his staggering range while the Airey-Powell-Glover backing was one of the strongest lineups Rainbow was to enjoy: Blackmore, as ever, is consistently good throughout.

This was also the first Rainbow album to reunite Richie Blackmore with ex-Deep Purple band-mate Roger Glover who undertook production duties and co-wrote the majority of the tracks which also helped the band transition from heavy rock to commercial melodic rock. Notable is the absence of writing credits for Graham Bonnet who, with his post-Rainbow band Alcatrazz, co-wrote all the tracks: even Cozy Powell gets a writing credit here on Lost In Hollywood – possibly for the drum roll at the beginning one wonders?

As with the follow-up, Difficult To Cure, this album represents Rainbow at the peak of their popularity.

• Graham Bonnet – Vocals
• Ritchie Blackmore – Guitar
• Don Airey – Keyboards
• Roger Glover – Bass
• Cozy Powell – Drums

Rainbow - Difficult To Cure (1981)

Following the departure of Graham Bonnet after one album, Down To Earth, Rainbow further pursued a more commercial sound with Difficult To Cure. With the extremely capable Joe Lynn Turner on vocals, the band further developed a more mainstream, chart-friendly approach which paid dividends with I Surrender achieving Rainbow’s highest-ever UK chart position at number 3.

Whilst I harbour a strong leaning towards the Dio-era Rainbow, Difficult To Cure is nevertheless a strong album and the last before the commercialism went too far. There is a good blend here of all-out rock riffing with Richie Blackmore in fine-form on Spotlight Kid and the track Magic is a real highlight. Joe Lynn Turner’s vocals are strong and soaring throughout the album and the band really were riding the crest of a wave. New boy Bobby Rondinelli ably steps into Cozy Powell’s shoes too providing the blunt, thundering style eschewed by Mr Powell.

The album also gives vent to Riche Blackmore to explore his classical roots once more with Vielleicht Das Nachste Mal and the title track (based around Beethoven’s Ninth) in which Don Airey performs a section in a very much Keith Emerson mould!

Chart success and a new vocalist who also would prove to be one of the greatest in rock – could it get any better? Well, no really and the band gradually slid into decline but for fans of classic melodic rock – and/or Richie Blackmore – this album should definitely be added to the collection.

• Joe Lynn Turner – Vocals
• Ritchie Blackmore – Guitar
• Don Airey – Keyboard
• Roger Glover – Bass
• Bobby Rondinelli – Drums