Artist: Gary Moore
Title: Bad for You Baby
Writer: Rick Galusha
Irish Bluesrocker Gary Moore is no newcomer to the idiom. Before there was a Sebastian Bach, Moore and Phil Lynott formed ‘Skid Row’ in the early 70’s. Shortly after that Lynott would leave to form Thin Lizzy and Moore would maintain a dalliance with Lynott until Phil‘s death in 1986. As a young man Moore took guitar lessons from Peter Green – founder of the Fleetwood Mac Blues Band. When Green opted out of the music industry he bequeathed his famed Les Paul to the young Belfast player. In 1995 Moore would pay homage to Green with the critically acclaimed album, ‘Blues for Greeny’ where Moore covered Green’s music; using the slow blues technique of Green to launch an album of rapid fire solos and meandering wondrous fret work.
While Green’s influence on Moore is apparent, equally obvious is Moore’s fascination with B. B. King and his perchance of holding a single note for numerous measures and making the tones and shadings fill the recording. Over the stretch of his four decades of recording, Moore has sharpened his tasty albeit up-tempo ax slinging that is sure to attract fans of Joe Bonamassa, Mato Nanji or Jeff Beck. And while song writing is historically a short coming for wunder-players, Moore’s vocals compliment his style and his albums historically have included a mix of covers and self-penned tunes with strong melody lines. Moore relies on blues textures and structure as he creates a sound that is easy to embrace and yet full of depth.
Moore’s latest album, Bad for you Baby, is a plain good record. Admittedly, his version of the blues, while widely embraced, is not aligned with most critics and other assorted purists. However, for the Everyman in each of us – this is an album with depth and variance that includes languid ballads like, ‘Trouble Ain’t Far Behind’ and the screaming guitars of ‘Umbrella Man.’ Moore’s covers two Muddy Waters songs, ‘Walkin’ Through the Park’ and ‘Someday Baby.’ He also follows Johnny Winter lead by covering J.B. Lenoir’s, ‘Mojo Boogie’ as well as Al Kooper’s Blood, Sweat & Tears era, ‘I Love You More Than You’ll Ever Know.’ Denver’s Otis Taylor pays back the favour by appearing on Moore’s album by playing his African banjo on the track, ‘Preacher Man Blues.’
Fans of the afore mentioned Joe Bonamassa, Jeff Beck and Mato Nanji(Indigenous) will enjoy Moore’s romp through the blues genre; his tender emoting notes and fiery finger fretted runs. Radio hosts might look at the smokin’ ‘Umbrella Man’ or the slow and emotive, ‘Did You Ever Feel Lonely?’
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