Blue Odyssey Reviewed…..

My last solo release “Blue Odyssey” has recently been reviewed by Martin Leedham over at HIS REVIEW BLOG

Martin’s blog is a treasure store of insightful reviews of a host of classic albums from way back when up to the present day, and I’m happy and honoured to be in such good company. Below is a snippet from the review, but just click on the link to read the whole thing, and take some time to check out some of his other excellent reviews, too.

“….The most recent and ambitious of those releases is “Blue Odyssey”, an album which tells the story of his road trip across the southern states of America undertaken in early 2010. During the 75 minute opus Moore manages to contribute vocals, bass, electric, acoustic and slide guitars, keyboard, drums and mouth organ. Making it a true solo album in the real sense of the word. However, there is still room for some talented guests and friends to join in throughout the eighteen track affair which, although obviously predominantly blues based, manages to encompass many a style and mood.………………….“Blue Odyssey” is fundamentally a blues album from a highly talented musician that has a great love of old school blues music and musicians. However it covers many other styles of music and although steeped in delta blues feeling and lyrical imagery it is much more than just a blues album. Gospel, funk, rock, soul and even a bit of old time boogie woogie are all thrown in the mix at one point or another and help to make the musical journey for the listener as enjoyable as the actual physical journey was for Moore. The only negatives for me are the slight over use of sampled soundbites and a slight concern that the length of the album may lead to attention wandering issues for some listeners. They don’t, however, prevent this from being an excellent and highly recommended album. Moore’s lengthy career in rock and pop music is evident throughout and the clever use of comedy in some of the lyrics add to the all round good feel of the album. This is not your doom and gloom woe is me blues offering by any stretch of the imagination but a celebration of cultures brought together under the banner of a Blue Odyssey……..”

If you want to order a copy of Blue Odyssey, just click on the link in the sidebar >>>>>>>>>>

Kev Moore

Black Country Communion – Live in Loket, Czech Republic

Black Country Communion in Loket: L-R: Derek Sherinian, Glenn Hughes, Jason Bonham, Joe Bonamassa

We’d decided to go to the Czech Republic for a week, in order to take in the wonderful city of Prague, whilst planning our main reason for the trip – seeing BCC on our last but one evening in the country, in the beautiful town of Loket. Most of the time, we enjoyed sunny weather, but perhaps we should have heeded the early warnings when we had to shelter in a bar in Prague from an amazing lightning storm and torrential downpour, preventing us from watching an outdoor concert in the Old Town Square.

Derek, Glenn & Joe soundcheck before the deluge. Jason is getting an Ice-cream. (See below)

I think he got one of the fans to hold his ice-cream while he signed.........

Nevertheless, Sunday came in Loket, the sun shone, the trucks moved in and erected the sound stage, PA and lighting, and all looked fine for an amazing night in the riverside amphitheatre, with the impressive Loket castle as the backdrop, looming large on its gigantic rock. We’d already been here for several days, getting the feel of the town, exploring the area and waiting for BCC to arrive.

Couldn't resist it....on stage in Loket the day before the show.

Loket has seen its fair share of celebrities – Daniel Craig was here in ‘Casino Royale‘ when Loket doubled for Montenegro. In the cafe scene, you can see our hotel in the background!   The Hotel (in real life) is called Hotel Goethe – a nod to the famous German poet who stayed here back in the day.

During the day, we wandered around this ‘fairytale village’ (to quote Harry from ‘In Bruges’!!) – and managed to say hi to Joe Bonamassa, and get a photo with him, and also chat with keyboard virtuoso Derek Sherinian, who happened to be at the next table while we ate perhaps the best apfelstrudel of our lives! (I recommended he try it  🙂  )

With Joe in Loket on the afternoon of the gig

It might have been Goethe’s town in his day, but it was rock’s poets on display tonight…….and no sooner had we taken our place in front of the stage than the heavens opened, and it bucketed down. For the next four hours. Non stop. It rained for  Radim Hladik and his (very good) band Blue Effect, and it rained for Black Country Communion.

"How are you feeling out there?!" shouted Glenn. "Wet," I replied, truthfully.

Glenn strode out….”I-I-I-I am a messenger!”  – and off we went.  He gave a heartfelt apology for the rain we were suffering under – and we were suffering – but this band simply dispelled any thoughts of personal health and safety as they transported me back in time to a…er….time when music was just stupendous. Thanks to this band, it is again, and those short-sighted critics and lazy journalists that dismiss this band as merely re-hashed Deep Purple are missing the point by a country mile. This band is a MODERN rock band, drawing on all that’s good from the past – the musicianship, the energy, the spontaneity……and….. whisper it quietly in the corridors of corporate radio, for it is a dirty word: ROCK.

Glenn Hughes owned the stage, an ethereal wraith spitting out amazing vocals and meandering bass lines in equal measure. Joe strode out into the downpour, precariously hardwired into his pedal board, soloing like a demon, and then theatrically wiping down his guitar with a towel, flinging it away with a flourish (the towel, not the guitar) bringing huge grins from the rest of the band, and cheers from the sodden audience.

Joe does his thing

The smiles exchanged between these guys onstage as they moved effortlessly between songs that are destined to become modern classics (I reckon BCC have about five of ’em already and counting) said everything about how good they feel doing this, and about how good it really is. And believe me when i tell you as a student of rock all my life and a professional bassist and singer of 33 years standing: THIS IS THE GOOD SHIT.  I hope they make more albums. I stood there in the rain, probably caught pneumonia. And for this band, I’d do it again.

Somebody was kindly filming from the rear, just look at this amazing setting! We’re stood front row, just in line with Joe’s monitors. You can’t miss us, we’re piss wet through and hooded. 🙂

Kev Moore

I don’t do reviews, but……….BLACK COUNTRY COMMUNION 2 – Rock’s Salvation?

Most reviews about this band start with the deconstruction of the “Supergroup” tag, and how groups either succeed or fail to live up to it. I’ll try and avoid that.  What Black Country Communion are is four musicians operating at the top of their game, but more importantly, producing something that transcends the sum of their parts. I suppose, if ever there was to be a definitive criteria for being labelled a Supergroup, then that is it.

What also sets this band, and this second album, apart from virtually anything else in the marketplace is the sheer quality and craft in the songwriting. No album fillers here. An album that clocks in around the hour mark and has not outstayed its welcome.  Beautiful counterpoint between the ballads and the rockers, between Bonamassa’s and Hughes’ voices, which compliment each other perfectly.  I read that producer Kevin Shirley had sought to capture the classic ‘Bonham’ sound through Bonzo’s lad, and he’s achieved that in spades. The drums are simply majestic, striding through the album like a colossus, the son honouring the father with feel and skill, and, as if you could ever doubt it, power.

But perhaps the most pleasing thing is the gradual emergence of Derek Sherinian’s keyboards. Heralding the great days of 70’s rock, he brings so much to this album. Never overbearing, always underpinning, and then sweeping into a solo off the back of Bonamassa, or growling along down and dirty with Hughes’ bass lines. Ah…the man’s bass lines!! If Glenn suffers from anything , it’s in having such an amazing voice that his bass playing is often overlooked. But you’ll not hear a better exponent of the craft, and his work on this album is stunning, whether it be driving “Man in the Middle” relentlessly, or the glorious weaving lines beneath Joe’s guitar in “The battle for Hadrian’s wall.”

A producer’s role is often a thankless one, at best misunderstood, or perhaps the fall guy if the project goes belly-up. But Kevin Shirley deserves huge praise, not just for his work in the studio, but for his vision in seeing immediately just what huge potential these four guys had collectively. His love and deep understanding of the genre is evident in his remix of Deep Purple’s “Come taste the band.”

You may have noticed I’ve hardly mentioned the tracks by name. It is because this is a bona fide body of work. There is no weak point on this album. The joy is to be derived from listening to it as a whole, almost unheard of in our 3 minute MTV short-attention-span culture, but the grace with which ‘2’ moves between Man in the middle, Hadrian’s Wall and Save me,  for example elevates this album from a mere collection of songs. It is a masterful body of work from four men who inspire each other to new heights.  It’s on in the car right now, every day, and I’ll be travelling with my partner Miki, who created the painting at the top of this article, to see them live in the Czech Republic in July. Come on!

(Just click on the portrait to visit Miki’s site and read about her thoughts on BCC and to order a print)

Kev Moore

Lessons from the Master

Meeting the Master

Some days ago, I flew to the UK to attend a long-overdue concert on Monday night in York by one of my greatest musical inspirations. He goes by many names: The Voice of Rock, The Funkmeister, Big Daddy, even Glenn Hughes…..but for me, he is simply the Master.  Backed by a superb band, he owns the stage, stomping around with an energy that belies his years, delivering his bass lines and sublime vocals with an effortless grace.

He played two songs on Monday that drove right to the heart of the passion he ignited in me to become a bass-player/singer. “Sail Away” – one of my favourites from the classic “Burn” album by Deep Purple – perhaps one of the first bass riffs I ever learned, and “Keepin’ Time” – the blockbusting opener from Trapeze’s third album “You are the Music….we’re just the band.”

When these songs came out, I was an impressionable, awkward youth, stumbling through my early teens. I was already a drummer in a band, occasionally singing, but when I heard Glenn’s breathtaking vocals, and pounding funk-laden rock bass, I just knew what I was going to be.

Unbelievably, that was forty years ago. He strides onto the stage at the Grand Opera House in York, a legend undiminished, and as I remarked to him in the chill of the night outside the stage door as the band left to continue the tour, he is like a fine wine, getting better and better with age. Slaying his demons, he has become a testament to belief in the music, and boy, does the music do the talking for him. In an age where kids have role models that it seems effortless to surpass, Glenn Hughes is from a different era, where aspiring musicians could draw inspiration by capturing just a fraction of the talents of these guys that wandered across the rock landscape of the early 70’s. Punctuating his set with snatches of self-deprecating, wry humour, I sense a man totally at ease with his stage persona, a man who has come home.

It speaks volumes that his playing and singing has exactly the same effect on my now, as in the early 70’s. It fires me. It makes me want to go home and practice, and play, just make music.

The guy sat next to me had brought his young teenage daughter along. As the last notes faded into the shadows of the old auditorium and the audience headed out into the night, he turned to her and said: “You can revise for your A levels tomorrow. This is all the education you need.”

It’s certainly been enough for me. Glenn, I salute you – you’re still The Master.

Kev Moore

Heartbreaker

The new Joe Bonnamassa album, released the other day, features a cover of Free’s “Heartbreaker”  (with Glenn Hughes) – and it reminded me of the original, and the eponymous album from which it came. I re-visited it, and it inspired me to put a version of my own down.  I just love this song, and hope it will feature in the blues show Mike, Stef and I will take out this year. I thought, just for a bit of fun, I’d share it with you here:

Kev Moore