Found On Sordid Streets

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl. But due to Robbo's increasing unreliability, Moore was persuaded to stay on and record Lizzy's Black Rose album in exchange for Lynott's help in shaping his own solo effort, Back on the Streets.

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl.

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl.

Their last LP for Columbia, 1979's Back on the Streets, found Tower of Power once again a disappointment to their fans. After two albums of desultory balladeering, the band still refused to return to their blistering funk roots, choosing instead what they hoped would be a more commercially viable wade into the oceans of disco. It didn't work. With a slick production that's so predictable it's horizontally boring, Tower of Power limped into the R&B charts with the mini-hit "Rock Baby" in August. And it really doesn't get any better from there. Across a batch of mediocre and uneven disco numbers, replete with strings and "sexy" backing vocalists, the band wandered across the absolutely MOR ballad "Heaven Must Have Made You" and the "Chuck E.'s in Love"-esque "And You Know It."

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl…

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 eld recordist Tony Schwartz frequently checked in with Moondog, his favourite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

This 1996 Streets And Walkways: The Best Of Gary Moore & Colosseum II provides a good overview of Colosseum II 's Electric Savage and War Dance while it also adds some songs from 1978's Back on the Streets by Gary Moore. Gary Moore has earned the status of guitar legend. This disc shows that he was as adept at playing in a jazz-fusion style as he was as a high octane rocker. This is an excellent introduction, for those who have only heard his more famous stuff, to a different side of Gary's playing.