“I had enough of the blues, but the blues ain’t had enough of me…” and with that, Gary Moore kicks off Back To The Blues, an aptly-titled, back to basics album that performs an abrupt volte face from the underrated A Different Beat, released two-years previously. Following the deluxe vinyl issue of that album (reviewed here), comes this gorgeous, two-LP pressing of Back To The Blues. Hard to believe, but this is the first time the album’s ever been available on vinyl, already making it something of a gem for collectors. Moreover, throw in the gatefold sleeve, three bonus tracks, and informative liner notes from long-time Moore aficionado Dave Everly, and you have not only a vinyl first, but also a genuinely desirable package for fans. That it’s pressed on rock-solid, crackle-free vinyl is an additional bonus, and our review copy sounds simply pristine, with not a crackle to be heard across the two platters.
The album kicks off in style with Enough Of The Blues, a storming cut with a hot-wired riff and a sing-along chorus. With Moore singing of how the blues reeled him back in, it sets the stage for a very special album in Moore’s canon, and while A Different Beat is surely an underrated gem, for blues purists, these feels like the return of their hero. As if the opening number didn’t make things plain enough, a cover of B.B. King’s You Upset Me Baby, with its showboating riffs, organ swirls and stage-crashing brass section (led by saxophonist Nick Payne) is simply a joy, largely faithful to the original, and played with panache by all concerned. Then there’s the stinging Cold Black Night, which gives Darrin Mooney and energetic workout behind his kit, as he drives the funky track hard. Gary delivers some blistering leads here, too, his fingers flashing over the fretboard as the band ramp up the volume behind him. After the carefully crafted studio work of the previous album, this feels brilliantly raw and, as the song reaches its conclusion, the audience is left feeling like Gary’s ripped through their living room, guitar and amp firmly in tow. Offering a necessary respite, Stormy Mondaysees Gary steady the ship with T-Bone Walker’s gorgeous slow blues classic, and the band clearly enjoy the chance to kick back and let Gary’s restless guitar work do the heavy lifting. The first side ends with another cover – Jimmy Reed’s Ain’t Got You – which takes on a deliciously salacious air, evoking a smoke-wreathed stage in a densely packed bar, sticky with heat and the sickly-sweet aroma of spilled alcohol. It’s a captivating first side, for sure, and you can’t help but look over in mild disbelief that the needle has hit the run-off groove so quickly.
The second side opens with the slow burning beauty of Picture Of The Moon, a haunting piece that sees Gary wring emotion from his guitar in a way that few artists could ever emulate. Far from the fastest lead on offer, it ebbs and flows with the breathy fluidity of the human voice, and it is a remarkable track that loses none of its emotional heft to familiarity. In contrast, a hard rocking cover of Looking Back gives bassist Pete Rees a workout, while Gary simply rips through the lead. It’s a quick blast of high-octane blues, that serves as a palette cleanser before instrumental track The Prophet rounds out side two. Led by Vic Martin’s keys, it’s another piece that leans on Gary’s uncanny ability to make his guitar truly sing,
The final side of the album proper kicks off with the funky strut of How Many Lies, the band clearly having a blast in the studio on a jam that feels like it was cut fresh and for the first time the very day of the studio recording. With Chris Tsangarides’ mix giving everything a warmth and a depth that truly shines on this vinyl edition, the song truly comes alive, and if you’re not tapping your foot by the end, you should probably check your pulse. A poignant finale to the record, Drowning In tears is classic Moore. Recorded, as legend goes, in just one take, it’s a work of breath-taking scope, emerging from an understated intro to offer up some of the album’s most affecting lead work. A masterclass in slow-burning intensity, it’s one of Gary Moore’s finest compositions, and you can feel the man’s warmth and humanity in every quivering note.
Rounding out the package, we get three bonus tracks on side four. The first of these, a single edit of Picture of the Moon is a curio only, really, fading out on Gary’s exquisite lead work. However, the two live tracks (captured at VH1) are borderline essential. The first, Cool Black Night is a pristine recording of the band in full flight, Darrin Mooney’s exquisite work behind the kit as awe inspiring live as it is on record. No less impressive is Stormy Monday, with Gary’s leads delivered with a flair that makes the hairs stand up on the back of the neck. They round the package out beautifully, leaving you wanting to listen to the album all over again, despite having spent nearly an hour in its company.
Most, if not all, Gary Moore fans will have this exceptional record in their collection. While A Different Beat was a mighty fine album, there are those who were never going to accept their hero engaged in such electronic shenanigans, making this return to the blues a monumental event, and there’s no doubting the quality of the material and the performances on offer. What makes this edition so special is that it has never before appeared on vinyl – making it a must for collectors. The fact that BMG have put the effort in to make this a special edition, with additional tracks and liner notes, really is the icing on the cake, making this the definitive take on a classic album. Absolutely essential. 10/10
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