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Gary Moore SEALED BRAND NEW CD(SHM-CD) "Back On The Streets" Japan OBI E
AU $25.73
大約HK$ 136.17
狀況：
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物品從未打開或移除製造商封裝。物品採用原先的熱縮包裝。
最後 1 件賣出 1 件
運費：
不運送到：美國.
所在地：kyoto, 日本
送達日期：
視情況而定
退貨：
60 日退貨. 由賣家支付退貨運費.
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- CD Grading
- Mint (M)
- Case Condition
- Mint (M)
- Case Type
- Jewel Case: Standard
- Catalog Number
- UICY-25148
- Country/Region of Manufacture
- Japan
- Custom Bundle
- No
- Edition
- Reissue, Remastered
- Features
- SHM-CD, Sealed
- Inlay Condition
- Mint (M)
- Language
- English
- MPN
- UICY-25148
- Modified Item
- No
- Type
- Album
- UPC
- 4988005688743
- Artist
- Phil Lynott, Gary Moore, Brian Downey
- Format
- CD
- Release Year
- 1979
- Record Label
- Universal Music
- Release Title
- Back on the Streets
- Style
- Hard Rock
- Genre
- Rock
關於產品
Product Identifiers
Record Label
Universal Music
UPC
4988005688743
eBay Product ID (ePID)
12050136069
Product Key Features
Release Year
1979
Format
CD
Genre
Rock
Style
Hard Rock
Artist
Phil Lynott, Gary Moore, Brian Downey
Release Title
Back on the Streets
Additional Product Features
Distribution
PSP CO Ltd
Number of Discs
1
Additional information
Personnel includes: Gary Moore (guitar); Phil Lynott (bass, vocals); Brian Downey (drums). 1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl. But due to Robbo's increasing unreliability, Moore was persuaded to stay on and record Lizzy's Black Rose album in exchange for Lynott's help in shaping his own solo effort, Back on the Streets. And a good trade it was, too, as with the exception of the title track's gutsy hard rock, Lynott's singing and songwriting contributions wound up providing the album with its most coherent and satisfying moments. These included the highly amusing "Fanatical Fascists," a mellow reworking of Lizzy's "Don't Believe a Word," a whimsical acoustic ballad called "Spanish Guitar," and the simply exquisite Moore tour de force "Parisienne Walkways." Unfortunately, these are rudely interrupted by a number of misplaced instrumental fusion workouts (no doubt G-Force leftovers) and a terribly saccharine ballad called "Song for Donna." Half winner, half dud, the album would at least serve notice of Moore's rebirth as a solo artist, and he would show marked improvement on his next album, Corridors of Power. ~ Eduardo Rivadavia
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