The sorely missed Gary Moore, in several ways, led a career with many parallels to Eric Clapton, even if he was far less known on these shores. He was, after all, a technically sound guitarist who made his mark in a famous rock band (Thin Lizzy), showed command of a variety of styles, had a considerable solo career, and even formed a power trio with Ginger Baker and Jack Bruce with the short-lived BBM. Most notably, like Eric Clapton, Gary Moore had a special affinity for the blues — even if he was comparably late to them.
Beginning with 1990’s star-studded Still Got The Blues, most of Gary Moore’s output was belatedly dedicated to the blues, but you’d never know he’d worked in any other style. Moore’s approach to the guitar, unsurprisingly, showed Clapton’s imprint, but his by-then-familiar metallic leanings still came to the fore in spots, too. The primary template Gary Moore drew from ultimately came from Fleetwood Mac guitar hero Peter Green and another Irish blues-rock master, the late Rory Gallagher. Back in ’95, Moore even cut a convincing disc dedicated to Peter Green’s songs, called Blues for Greeny, and counted one of Green’s old Les Pauls as part of his guitar collection.
Close as You Get, released this week in May 2007, marked Gary Moore’s third blues record release in as many years. Following the same template as before, the project was a mixture of originals and familiar standards, as well as mood and intensity. And once again, the originals generally bested the covers, even if they sounded more than a little familiar. For some, Gary Moore’s vocals were an acquired taste, but his sneering, flexible way with a lyric fit the songs just right to my ears.
The first time I heard “If the Devil Made Whisky,” I just assumed from the heavy blues riffing and dirty slide that it was an Elmore James cover. Turns out, Moore wrote this sub-three minute hard rocking statement on his own. “Trouble at Home” was the mystic, soul-drenched type of blues that Green was widely known for. “Thirty Days” was an old Chuck Berry tune where Gary Moore covered the rockabilly-styled blues in methodical fashion — and in the process evoked the point at which the blues had a baby named rock ‘n’ roll.
“Hard Times,” on the other hand, was a harp-driven rollicking blues shuffle. “Eyesight to the Blind” was one of blues legend Sonny Boy Williamson II’s most familiar songs, and Gary Moore tackled it on Close as You Get. Even though it’s one that’s been covered to death, “Eyesight” was a natural choice for Moore, too. His scowling vocals and predatory guitar gave the song all the cockiness that makes it a great tune. Gary Moore took on Sonny Boy again on “Checkin’ Up On My Baby,” adding Mark Feltham’s harmonica to provide some harp improvising before Moore takes a fiery solo of his own.
Only toward the end does Close as You Get seem to run out of gas. The somber “I Had a Dream” dragged out a bit too long. That’s even more so the case with Son House’s “Sundown,” a down-home Delta blues number played on an acoustic slide that plods along at an overlong seven minutes.
Nevertheless, Close As You Get was your standard-issue Gary Moore blues record. Which is to say, you got no-nonsense blues played with sincerity and a great deal of expertise. And, even all of these many years later, that works just fine for me.
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