#andy pyle

[longliverockback]

Gary Moore Blues for Greeny 1995 Virgin ——————————————————————— Tracks: 01. If You Be My Baby 02. Long Grey Mare 03. Merry Go Round 04. I Loved Another Woman 05. Need Your Love So Bad 06. The Same Way 07. The Supernatural 08. Driftin’ 09. Showbiz Blues 10. Love that Burns 11. Looking for Somebody ———————————————————————

Tommy Eyre

Gary Moore

Andy Pyle

Graham Walker

* Long Live Rock Archive

[mclennonlgbt]

I ranked Kinks STUDIO albums

Remember, this is only my opinion and may differ from day to day!

Village Green Preservation Society

2. Arthur (Or the Decline and Fall of the British Empire)

3. Lola versus Powerman and the Moneygoround, part One

4. Muswell Hillbillies

5. Something Else by the Kinks

6. Face to Face

7. Preservation Act 1

8. Preservation Act 2

9. Everybody's in Show-Biz

10. Sleepwalker

11. State of Confusion

12. Phobia

13. The Kink Kontroversy

14. The Kinks present Soap Opera

15. Give the People What They Want

16. Misfits

17. Percy

18. Schoolboys in Disgrace

19. Kinda Kinks

20. Think Visual

21. Low Budget

22. Kinks

23. UK Jive

24. Word of Mouth

@kinkswondergirl @raydaviespilled @ranageee @seovich

[tomthegrocerboy]

The Kinks in 1977, at Konk Studios.

[vinylspinning]

Gary Moore: Live at the Marquee (1983)

Irish guitarist Gary Moore was a professional musician by the late ‘60s, and he first recorded with Skid Row (the other one) in 1970, but a decade later, he was still bouncing from one short-lived band or solo project to another, as 1980’s Live at the Marquee confusingly illustrates.  

Recorded at the famous London club over a two-night stand on November 5 and 6, 1980, the set was a mixed bag of songs culled from Moore’s 1978 solo LP, Back on the Streets, its still unreleased follow-up, Dirty Fingers, and another short-lived band project, called G-Force.

You writing all this down?

While you’re at it, you may also want to note that Gary was joined on these dates by former Lone Star frontman Kenny Driscoll, journeyman keyboardist Don Airey (Rainbow, Colosseum II, etc.), Kinks bassist Andy Pyle, and former Black Oak Arkansas and Pat Travers drummer Tommy Aldridge.

In other words, this was very much what one would call a “pickup group,” but a formidable one, at that.

And in keeping, Live at Marquee, is arguably a more compelling showcase of their combined virtuosity -- Moore’s, most of all -- than the songs themselves, since these hardly deviate from their studio counterparts, with “Dallas Warhead” the sole exception, as it was built around Aldridge’s invariably jaw-dropping drum solo.

Otherwise, both “Back on the Streets” and “Run to Your Mama” head-bang with powerful efficiency, while the stunning, if foreboding “Nuclear Attack” launched the first of several apocalyptic ballistic missiles-turned-songs (see “End of the World,” “Victims of the Future,” etc.).

Meanwhile pop-leaning G-Force tracks like “Dancin’” and “You” sound as forced here as they did on that ill-fated band’s lone studio LP, but the moody, cathartic “She’s Got You” almost makes that entire, unfortunate detour in Moore’s career worthwhile.

And not even the harshest critic will likely complain about this group’s rendition of Moore’s first U.K. hit, the perfect instrumental ballad “Parisienne Walkways,” whose melody was so lovely, Gary would end up plagiarizing himself twelve years later for “Still Got the Blues.”

Unlike that signature song, however, Live at the Marquee would sit gathering dust in Jet Records’ archives for three years, before being dusted off, along with Dirty Fingers, to capitalize on Gary Moore’s, by then, better-established solo career.

More Gary Moore: Grinding Stone, Back On the Streets, “Parisienne Walkways," Dirty Fingers, Corridors of Power, Rockin’ Every Night, Victims of the Future, ”Shapes of Things,“ We Want Moore!, Run for Cover, Wild Frontier, Parisienne Walkways, After the War; plus Skid Row’s Skid & 34 Hours, Colosseum II’s Wardance, G-Force’s G-Force, Thin Lizzy’s Black Rose.

[spirits-drifting]

Blodwyn Pig, 1969

[rainingmusic]

Rod Stewart "(I Know) I'm Losing You"

[mclennonlgbt]

Over the last 12 months, many artists have been important to me. Gill Scott-Heron. The Lemon Twigs. Margo Guryan. Linda Perhacs. Ella Fitzgerald. Nina Simone.

However, my year was undoubtedly The Kinks. Previously, I only knew and loved a few of their albums. In 2024, everything changed: I got to know the rest of the group's discography. It was a revelation for me.

I had no idea what a diverse and fascinating phenomenon The Kinks were. This group deserves to be talked about more. I think that everyone will find something for themselves in the work of the Londoners - whether in the era of proto-punk, baroque pop, theater or arena rock.

I won't deny that thanks to The Kinks I survived the most difficult moments this year. And there were really many of them. I don't want to think what would have happened to me if it weren't for Ray Davies.

[mclennonlgbt]

GO LISTEN TO THIS ALBUM.

If you think The Kinks only made good music in the 60s - listen to "Sleepwalker". Great songwriting (both melodies and lyrics), great arrangements, very good vocals. (I think Ray's theatrical era is unfairly maligned and those albums are at least okay, BUT "Sleepwalker" is the most accessible to newcomers of all the 70s albums.)