Gary Moore – The Sanctuary Years 1999-2004
BMG Records BMGCAT39BOX
44 songs – 204 minutes on 4 CDs plus Blu-Ray
Born the same neighborhood in Belfast, Northern Ireland, as Van Morrison, Gary Moore (1952-2011) was one of the most influential guitarists of his generation, bridging blues, blues-rock, heavy metal and jazz fusion. And all of those talents are on display in this collection, which should thrill fans as it gives a rear-mirror glance at the six years he spent at Sanctuary Records, which – prior to its acquisition by BMG – was the largest independent label in the United Kingdom and the largest music management firm in the world.
Packaged together for the first time are four of his seminal recordings – A Different Beat, Back to the Blues, Scars – which teamed him with Cass Lewis and Darrin Mooney, and Power of the Blues, all of which include extensive new essays from Canadian musician/journalist Dave Everley along with their original liner notes. Two of the discs feature bonus recordings, and a fifth Blu-Ray disc serves up a surround-sound version of Back to the Blues along with two interviews with the fret burner.
Moore drew early inspiration from Peter Green and Eric Clapton and rose to fame in the late ‘60s as a member of the rock groups Skid Row and Thin Lizzy, but had an enduring love for the blues, which surfaced regularly in everything he did until his passing of a heart attack at age 58 while on vacation. After about 20 successful years as a soloist on Virgin Records, he joined the Sanctuary fold in 1999 through its acquisition of Castle Records, his new label.
Electronic music had taken the world by storm. And always an innovator Gary was experimenting with the new artform when he recorded the aptly named A Different Beat with a stripped-down lineup that included keyboard player/programmer Roger King of the Steve Hackett band and brief appearances from drummer Gary Husband and programmer Phil Nicholls.
As the roster suggests, this work basically features interplay between Gary’s guitar and shifting, persistent rhythms. The blistering “Go On Home” sets the tone with Moore laying down wah-wah pedal-infused runs atop a dance beat common to the discos of the era. It gives way to “Lost in Your Love,” which adds a soulful feel to the mix and keeps the album moving forward before “Worry No More” plays off a heavy rock chorus with optimistic lyrics. A blazing version of Jimi Hendrix’s “Fire” follows before a dramatic sonic shift through the ballad, “Surrender,” which slowly picks up intensity throughout.
Where’s the blues, you ask? Up next. Funky triplets on drums open “House Full of Blues” before it erupts into a blues-rocker and the acoustic “Bring My Baby Back,” which has a country-blues feel before it takes on 21st century, electric appeal, which dominates “Can’t Help Myself” and “Fatboy,” an extended number built on one repetitive hook. “We Want Love” concludes the original album before an extended remix of “Can’t Help Myself” brings the new version to a close.
The disc that follows, Back to the Blues, serves up a heavy dose of the blues-rock that you’re looking for. It’s something that he’s been looking for, he admits in the opener, “Enough of the Blues.” And you know he’s telling the truth when he launches into “You Upset Me,” “Cold Black Night,” “Stormy Monday” and “Ain’t Got You” to follow. The original, “Picture of the Moon,” precedes Johnny Guitar Watson’s “Looking Back” before three more fresh numbers – “The Prophet,” “How Many Lies” and “Drowning in Tears” – bonus cuts of three of the tracks all combine to put a smile on your face.
Scars, meanwhile, finds Moore reverting to his beloved power-trio format for hard-edged blues-rock with a strong emphasis on the latter. Hendrix casts a large shadow over the opener, “When the Sun Goes Down,” before an all-original set that includes “Rectify,” “Wasn’t Born in Chicago,” “Stand Up,” “Just Can’t Let You Go,” “My Baby (She’s So Good to Me,” “World of Confusion,” “Ball and Chain,” “World Keep Turnin’” and “Who Knows (What Tomorrow May Bring?).”
But then its back to the basics with keys in tow for Power of the Blues, the fourth – and best – album in the set. A mix of seven originals and three covers, Gary holds nothing back from the opening riffs of the title cut before launching into “There’s a Hole,” “Tell Me Woman,” Willie Dixon’s “I Can’t Quit You Baby,” “That’s Why I Play the Blues,” “Dixon’s “Evil,” “Getaway Blues,” Curtis Mayfield’s “Memory Pain,” “Can’t Find My Baby” and “Torn Inside.”
Gary Moore was a genius at his art, and there’s a lot to like here. And if you’re into surround sound, you’ll find the bonus disc interesting, too.
