Welcome to another edition of From My Collection. The other day marked 12 years since the passing of guitar god Gary Moore, which is strange to me. It feels just like yesterday that I was a fresh-faced 6th grader air guitaring along to Thin Lizzy’s Black Rose. Has the man responsible for so many classic songs, mega riffs, and scorching solos really been gone for half of my lifetime? Yes, he has. My admiration for Moore has only grown over the years. What began as the simple childhood observation of “He rocks!” involved into noticing and appreciating the subtle nuances of his playing; from the passion he channeled into his leads, to his untouchable versatility, Moore could do it all. This week, we pay tribute to the man George Harrison branded “the greatest guitarist in the world”, Gary Moore, and his smash album, Corridors of Power.
Gary Moore spent the better part of the 70s hopping from one band to the next. He first made a name for himself as the frontman for bluesy hard rockers Skid Row (not to be confused with the 80s hair band of the same name), before attempting to establish himself as a solo artist. When 1973’s Grinding Stone didn’t take off as planned, he eventually joined Thin Lizzy, left to join prog supergroup Colosseum II, then rejoined Thin Lizzy, left again to focus on another solo album, and finally rejoined Thin Lizzy a third time in 1978. Are you following? Good, because at this point of the story, the 70s are finished, Gary Moore is a bonafide guitar hero, and he is out of Thin Lizzy for a third and final time.
Come the 80s, Moore kept himself busy, simultaneously working on a solo album and lending a hand to his good friend Greg Lake of Emerson, Lake & Palmer fame. His proposed third studio album, Dirty Fingers, would be shelved for three years, as his record label thought it would be “too heavy” for public consumption. They opted instead to release the first and only album from G-Force: A poppy hard rock outfit with Moore at the forefront. Contrary to what these industry know-it-alls believed, G-Force flopped hard, and rightfully so. Even at its best, it was a middle of the road AOR album that drastically suppressed Moore’s guitar and songwriting virtuosity.
By 1982, and with heavy metal mania sweeping the globe, the record industry stiffs finally got the message: The fans wanted Moore! They sure got it with the release of his third solo album, Corridors of Power. Now there are some who consider this to be his second solo album, as Grinding Stone was technically released under the moniker “The Gary Moore Band”. For all purposes though, this seems to be more or less a moniker given to sell records and shows, as all the music on Grinding Stone was written by Moore. In other words, it was less a collaborative band effort than a glorified solo debut, so for our purposes, we’re branding it a solo album.
Corridors of Power establishes a template that would become the norm for Moore albums into the late 80s, consisting of headbangers, ballads, and melodic rock songs, each executed with equal conviction. However, it’s not just Moore’s perfectionist approach that spearheads these brilliant compositions, but an equally dedicated group of players. Joining Moore on this star studded effort is session keyboardist Tommy Eyre, Whitesnake bassist Neil Murray, and Deep Purple drummer Ian Paice. That grouping in and of itself could’ve been the next big supergroup of the 80s, but having spent the past decade going from one band to the next, Moore was determined to make this a solo outing.
Corridors opens with one of my all time favorite Moore cuts (Aren’t they all?), “Don’t Take Me for a Loser”. It’s a straightforward heavy 80s rocker, but its emphasis on melody and emotion is what takes it to another level. Just take a listen to Moore’s soulful vocals and those chords on the verses, rounded out by an anthemic chorus. You weren’t going to get these complexities on a Tygers of Pan Tang album (No offense to Tygers, who totally rules!). This was sophisticated metal without veering into prog, emphasizing blues and R&B undertones, making it all the more unique.
“Always Gonna Love You” is out of the ordinary for Moore, with more emphasis placed on keys as opposed to guitars. Sure, there’s some arena tailored riffage during the chorus and a beautifully bluesy solo thrown in, but at the end of the day, it’s the delicate piano playing of Eyre which serves as the foundation for this magnificent AOR ballad. Following this is a slow, brooding rendition of Free’s “Wishing Well”. The production is blatantly 80s metal and the half-time tempo does take away from the frenetic energy of the original, but it’s the latter that makes this cover stand out. Paul Kossoff would be proud to see this classic stripped down to its bluesy core.
“Gonna Break My Heart Again” keeps the party going, its uplifting melodic hard rock soundtrack contrasting the downtrodden lyrics. With the infectious hooks showcased on this one, it’s hard to believe Corridors wasn’t a commercial smash here in the States. There isn’t much difference between a cut like this and the likes of Survivor and Journey, both of who dominated FM rock radio in America around this time. The same can be said for the immaculate ballad, “Falling in Love with You”, which would’ve been right at home on adult contemporary radio of the era. Hey, if Rainbow was able to crossover with “Stone Cold”, why not Mr. Moore?
As we flip over to side B, we’re greeted by the heaviest cut on the album, “End of the World”. True to its title, “End of the World” is an apocalyptic rager that channels all the youthful fury and rage of the NWOBHM into one 7 minute tour de force. Everything from Moore’s gallop riffs and dramatic vocal delivery, to Murray’s rumbling bass and Paice’s explosive drumming, is in your face. This is easily a Top 10 Moore tune for me. “Rockin’ Every Night” continues the headbanger’s ball. A blistering speedster that boasts a mosh-worthy boogie, I could only imagine the reaction to Moore opening up a show with this one. Good luck not snapping your neck!
Contrasting this is the gutsy blues rock of “Cold Heart”. I’ve always felt this song is one of a few that can be heard across Moore’s 80s output that foreshadowed his pure blues era of Still Got the Blues (1990) onwards. All of the benchmarks are there. Lyrics chronicling love gone awry? Check. Riffs and soloing characteristic of the three Kings (B.B., Freddie, Albert)? Check. Vocals that channel the raw energy of the guitar work? You got it! Speaking of the blues, the soulful “I Can’t Wait Until Tomorrow” closes this affair out in an extremely blues-driven blaze of glory. For those who dismiss ballads as snooze-fests, make no mistake when I say “I Can’t Wait Until Tomorrow” will keep your eyes and ears open from beginning to end. Very few before and after Moore could pen a piece of this caliber.
It took a few tries, but Corridors of Power was the album on which Moore finally got things right as a solo artist. From there came a streak of classic heavy metal/hard rock releases, one after the other. In a not so shocking turn of events, the 90s saw Moore reinvent himself as a fulltime bluesman, continuing to release only the finest music until his untimely passing in 2011. One can only imagine what Moore would be doing if he were alive today. At the time of his death, he was working on a new album that was to be his metal comeback. My heart breaks not just because we’ll never hear this album, but because we’ll never hear a note of new music from Moore again. His talent was that of one who comes around once in a lifetime, talent which I’m convinced we’ll never hear the likes of again. Rest in power Gary: We’ve still got the blues, but are forever grateful for the Corridors of Power you built.
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