Album Review: Blues and Beyond by Gary Moore

By Dave Resto

Fans of the late, great blues-rock guitarist, Gary Moore, really have something to look forward to this holiday season. A new collection, titled Blues and Beyond (Orionstar Ltd.) was released on November 24^th and it has something to offer both long-time devotees who’ve followed Moore’s long and fruitful career, and casual listeners who might want to get better acquainted with the legendary axe man.

For the most dedicated, hard-core Gary Moore fan, there is the box set, which includes four CDs (two CDs of Moore’s previously released studio material; two CDs of remastered, previously unreleased live performances; an authorized biography, I Can’t Wait Until Tomorrow, written by Harry Shapiro, and several interesting items of memorabilia.

For those who may simply wish to learn more about Moore’s music, Blues and Beyond is also available as either a two CD or a four LP set. These collections contain the studio recordings and a live track (“Parisienne Walkways” – recorded at the 2003 Monsters of Rock Festival) and don’t include the book or memorabilia.

The first CD begins with the track, “Enough of the Blues,” which well captures what Gary Moore was all about as an artist and sets the pace for the long and enjoyable journey ahead. Opening with a spartan sounding, slide-resonator guitar and Moore’s thin, compressed vocal, the effect is like listening to an old blues recording through a Victrola. Following the opening verses, the track explodes into a full-blown, modern, electric blues-rock foot-stomper. It sums up the musical approach that made Moore famous—playing music that was closest to his heart – the blues, and infusing it with the raw power of rock guitar.

There are a few nicely done blues classics throughout these first two CDs such as “Stormy Monday” and “I Can’t Quit You Baby.” More interestingly, this compilation includes some of Moore’s lesser known, experimental work. “Surrender” and “We Want Love” are from his forays into a softer, perhaps more adult contemporary sound. Although it was a departure that was generally unappreciated by fans and critics, there’s no denying his gift for phrasing guitar parts.

Fans might appreciate songs like “Cold Black Night” (which borrows from the riff to “Born in Chicago”) and “World of Confusion” (very reminiscent of “Manic Depression” by the Jimi Hendrix Experience). These high-velocity scorchers are good examples of Moore’s gift for marrying blues and rock so successfully.

For all his capacity to shred at high speeds, Moore never shied away from a slow tempo or a light touch. In fact, it often allowed him to express himself in ways that proved him to be a much more well-rounded musician. “The Prophet” is an instrumental, where he allows his guitar to sing in whispers and crescendos. “Picture of the Moon” is a lesson in restraint and understatement, reminding us that a lion can purr, as well as roar.

“Parisienne Walkways,” the last track on CD two, scored a big hit for Moore. Here, we get a live version, recorded at the Monsters of Rock Festival in 2003, where Moore holds nothing back. Midway through the track, he toys with the audience – stopping the song, playing a few brief notes and then cutting them off, until he releases a sustained note that draws much applause from the crowd. From there, his playing takes on a fury that builds to a dramatic conclusion.