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Scott Gorham

ENCARTE: THIN LIZZY [4]

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Sinopse – !?! – apócrifa em “Jailbreak” (1976):

“THE JAILBREAK The Warrior locked himself into his video scanner and gazed throughout the Universe… until he come upon Dimension 5.

DIMENSION 5 was now in the hands of the Overmaster, whose lust for ultimate power had become an obsession. Religion and the media were all under his control and computer files were kept on all known living persons within the city zones.

Many were arrested and jailed.

It was therefore significant that The Jailbreak represented a freedom for so many yet to those involved at the time it was a series of events, the outcome of which no-one could have foreseen. The plan was simple. By knocking out the alarm systems in a riot, they then would cause an explosion which would blow half the cell blocks away. Outside help came from an organisation known as Phono-Graphics, who if the plan was successful would eventually capitalize on the whole project.

The night of The Jailbreak all hell broke loose. A Red Alert was issued by the Overmaster himself. Robot trackers, military police, dogs and all avaiable vehicles were on the hunt. All were caught, except four, who made it to the Rampic Buildings on the south side of the city. It was in these buildings that they broadcast and recorded selected material, some of which still survives today. Through these recordings they built up a following who eventually took to the streets in what was to become the Final War.

The Warrior had become weary and disillusioned with war, but seeing how the people struggled to be free he knew once again he must raise up his sword…

The music sailed out into the night then upward towards the skies, travelling on that thin border between reality and imagination…”

ENCARTE: GARY MOORE

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O encarte em “Live In Montreux 2010” (2011), q trata da apresentação em si e circunstâncias, descreve em seus últimos parágrafos o falecimento, planos interrompidos e como Moore se via no mundo da música.

Escrito/assinado por Dave Ling, jornalista inglês da revista Classic Rock:

“Tragically, Moore died of a heart attack during a getaway break in Spain on 6 February, 2011 – seven months to the day after this Montreux gig.

The world of music was stricken with grief. There were tributes from Ozzy Osbourne, Tony Iommi, Bob Geldof, Roger Taylor, Scott Gorham, Glenn Hughes, Zakk Wylde, and Bryan Adams and many more, even from the realm of extreme metal thanks to Opeth‘s Mikael Åkerfeldt. When Europe played at the Shepherd’s Bush Empire in London shortly afterwards, their guitarist John Norum offered an affectionate rendition of ‘The Loner’, the Max Middleton song that Gary had recorded to such emotional effect on ‘Wild Frontier’. Neil Carter, who only the previous summer had reconnected with Moore through the teaching of music at a school attended by all three of the latter’s children, was especially distraught.

‘We were due to go into the studio next week. Gary had some ideas for an album – a Celtic rock album – and we were going to start working on those’. Neil informed Classic Rock, referring to the likes of ‘Days Of Heroes’, ‘Where Are You Now’ and ‘Oh Wild One’. ‘I hesitate to use the word genius but there was something otherwordly about Gary. He was a truly gifted individual. I shall miss him a lot’.

Though the likes of Metallica‘s Kirk Hammett, Vivian Campbell Of Def Leppard and the late Randy Rhoads (of Ozzy Osbourne, Quiet fame) and more have all cited his playing as an influence upon their own techniques, the 58-year-old was a modest and unassumng man – especially so during the final years of his life.

‘I don’t think I’m undervalued (as an artist); I’ve had all the accolades that I could wish for’ he told me back in July 2006. ‘I’ve felt overrated sometimes, not underrated. Being called a legend makes me cringe’.

Well, now there’s very little choice in the matter…“

ENCARTE: THIN LIZZY [2]

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Esclarecimentos definitivos sobre a veracidade de “Live And Dangerous” (1978), por Stuart Bailie, do New Music Express, em minha versão remasterizada (1996):

“The band’s set of Hammersmith Odeon shows from November ’76 were commited to tape. Another nights at Seneca College Fieldhouse in Toronto, and at Philadelphia’s Tower Theatre were also preserved. Even an inspired soundcheck of ‘Southbound’ was put to use. Everybody was pleased by the flat monitor mixes they heard, but Visconti figured that they had the makings something really unique. He said they could either slam out a rough approximation of the gigs, or they could tidy it up some, give it cohesion and release something that would live forever.

This approach needed some extra work back in the studio – fixing bum notes and amending the backing vocals. Scott remembers that himself and Brian Robertson were so pumped up on stage during this era that they were stepping up to the mics, ‘screaming anything and running away again to play guitar’.

Because of this, a few begrudgers said that the whole record was a sham, that hardly any of it was taken from the stage at all, but co-manager Chris O’Donnell refutes this, stressing that it was at least ’75 per cent live’. Frank Murray, the band’s tour manager at the time, seconds the story. ‘People talk about overdubbing and what went on with that album, but it was greatly exaggerated. I heard it in its raw state and it was still a number one album. It was one of the greatest records ever made. U2 used to listen to it all the time, to try and achieve that type of excitement’“.

PS – “Visconti” era Tony Visconti, produtor do disco; “Scott”, Scott Gorham, um dos guitarristas

BLACK PRIEST IN CHAINS

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por märZ

11.11.18 – Km de Vantagens Hall, Rio de Janeiro

Era para eu ter perdido esse show. Mas pelo mesmo motivo de ter conseguido ir no Cavalera Bros, eis que fui parar no Rio de excursão para ver Judas Priest, Alice in Chains e Black Star Riders. Um line-up um tanto inusitado, alguns poderiam dizer, mas não vamos esquecer q o AIC excursionou ao lado de Megadeth, Anthrax e Slayer nos anos 90, um pouco antes da fama. E, honestamente, eu acho a variedade um ponto positivo, se for pra ver 3 ou 4 bandas numa mesma noite.

Quem abriu os trabalhos foi o Black Star Riders que, para quem não sabe, é o que sobrou do Thin Lizzy com outro nome. Verdade que o único remanescente dos velhos tempos é o guitarrista Scott Gorham, mas o hard rock que fazem deixa claro o DNA famoso. No vocal, um quase conhecido chamado Ricky Warwick, que alguns devem se lembrar como guitarra e cantante do grupo irlandês The Almighty, que fez um certo barulho nos anos 90. Show certinho, bons músicos, mas não chegou realmente a empolgar, a não ser quando tocaram “Jailbreak” e “The Boys Are Back in Town”, da banda matriz.

Em seguida veio o Alice in Chains. Eu já os havia visto antes, no SWU de 2011, em local aberto e debaixo de chuva. E o que mais me lembro desse show foi exatamente o incômodo provocado pela chuva, mais nada. Desta vez, foi diferente. A casa de shows em questão (onde já havia visto Placebo em idos tempos, e o Scorpions mais recentemente) é pequena, com capacidade máxima de 8 mil pessoas e estava com a lotação quase total. O som estava perfeito, bem equalizado e na altura certa, o que beneficiou muito a performance do AIC. Hit atrás de hit, dando uma geral na carreira inteira (exceto os EPs), para delírio dos presentes. O que mais me chamou a atenção foi o PESO na distorção de guitarra de Jerry Cantrell, especialmente nas canções pós-volta. O chão tremia. Tinha hora que parecia banda sludge ou stoner, e não me surpreenderia se começassem a tocar algo do Bathory ou Celtic Frost. Show impecável e emocionante.

Fechando a noite, veio o Judas Priest com seu show de costume. Não mudam quase nada há anos, mas dessa vez a novidade era a presença de Andy Sneap na guitarra, substituindo Glenn Tipton. Também deram uma geral na carreira, mas como possuem muitos álbuns, não dá para agradar todo mundo. Quanto à performance, Halford continua gritando muito, mas já há tempos vem demonstrando cansaço. Normal, com a idade que tem. Sneap parece ainda meio tímido no palco, meio deslocado. Os solos foram quase que monopolizados por Richie Faulkner, com exceção nas canções do novo álbum, “Firepower”, o que para mim reforça os boatos de que Tipton não compôs nem gravou nada no disco, e sim Sneap. É possível.

(photo by Matt Condon / @arcane93)

Show do Judas é sempre divertido, mas algo me incomodou bastante: a altura do som. Estava quase insuportável, apesar de nítido. Passei mais da metade da apresentação da banda com os dedos enfiados no ouvido, protegendo meus tímpanos, especialmente nos agudos de Halford. Desejei muito ter levado protetores auriculares. Só por isso, considero o show do Alice In Chains o melhor da noite.

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Dia 1 de dezembro tem L7 no Circo Voador, e esse é para mim o show mais esperado do ano. Que, é claro, vou ter que perder por causa da minha escala de trabalho. Sorte de quem for.