On September 30, 1978, Gary Moore released his first solo album "Back on the Streets".
Well, to be precise it is Gary Moore's "Back on the Streets" is widely regarded as his true debut solo album, setting itself apart from 1973’s "Grinding Stone", which was credited to the "Gary Moore Band".
The album marks the beginning of Gary Moore's journey as a solo artist after years of collaborating with bands like "Thin Lizzy" and "Colosseum II". The album blends rock, blues, and jazz fusion, showcasing Moore's technical brilliance as a guitarist and his ability to mix genres with ease.
It includes contributions from "Thin Lizzy" members Phil Lynott and Brian Downey, making it a unique combination of Moore’s solo work and "Thin Lizzy’s" influence, but only in few songs, since this album does not have a uniform musical line.
The album kicks off with the title track, "Back on the Streets," an energetic hard rock piece that immediately puts Moore’s fiery guitar work at the forefront reminiscent his days in "Thin Lizzy". It's packed with catchy riffs and solos, showing Moore’s prowess while maintaining a melodic, accessible sound. Moore also plays bass on this track, Simon Phillips plays drums and Don Airey on keyboards.
The second track "Don't Believe a Word," is a reworked version of the "Thin Lizzy song" (which originally appeared on the 1976 "Johnny the Fox" album). Unlike the original’s fast-paced rock arrangement, Moore's version has a slower, more blues-driven feel. This allows his guitar work to breathe and adds a layer of emotional depth that distinguishes it from the "Thin Lizzy" rendition. Lynott plays bass and takes lead vocals, while Brian Downey plays drums thus reuniting the short-lived 1974 "Thin Lizzy" line-up which had recorded "Still in Love with You", "Sitamoia" and the single "Little Darling".
"Fanatical Fascists" brings a punk-inspired energy to the album, showing Moore's heavier rock side, while in the instrumental "Flight of the Snow Moose," Moore returns to his jazz fusion roots, offering a complex, intricate arrangement that blends rock and progressive influences. It’s a testament to his background in "Colosseum II" and his talent for crafting sophisticated, technically demanding compositions.
The second side of the vinyl opens up with "Hurricane" which as its name hints is a Jazzy fast-paced instrumental showcasing Moore's virtuosi guitar playing.
"Song for Donna" introduces a softer, more introspective tone. These shifts in style keep the album fresh and highlight Moore’s versatility as both a guitarist and a songwriter.
"What Would You Rather Bee or a Wasp" is another instrumental which blends Jazz and Hard rock and prepare us to the highlight of the album, the closing track and soulful ballad "Parisienne Walkways", which became one of Moore’s most iconic songs. This track was co-written with Phil Lynott, and features Lynott on vocals, and Gary Moore on backing vocals, mandolin, accordion. The slow, emotional guitar lines paired with Lynott’s voice create an atmospheric, haunting melody that continues to resonate with fans. Moore's ability to sustain notes and craft evocative solos is perfectly on display here, making it a lasting gem in his catalog. The melody of "Parisienne Walkways" is based on the jazz standard "Blue Bossa" by Kenny Dorham.
The expanded edition of the album features the bonus tracks "Track Nine", which is another great instrumental, and "Spanish Guitar" in three versions, one of which features vocals by Phil Lynott.
"Back on the Streets" stands out not only for Moore’s virtuosic guitar playing but also for its diversity. It balances hard-hitting rock tracks, tender ballads, and experimental jazz instrumentals, all while highlighting Moore’s melodic sensibility and technical skill, while the contributions from Lynott and Downey elevate the overall sound, giving it a collaborative feel. It is a defining album in Gary Moore’s career, laying the foundation for his future work and showcasing his talents as a guitarist and songwriter.
For Listening: Spotify, Apple Music
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