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Back On The Streets

Rate It! Avg: 4.0 (48 ratings)
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Back On The Streets album cover
01
Back On The Streets
4:25
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02
Don't Believe A Word
3:53
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03
Fanatical Fascists
3:06
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04
Flight Of The Snow Moose
7:26
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05
Hurricane
4:54
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06
Song For Donna
5:32
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07
What Would You Rather Bee Or A Wasp
4:56
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08
Parisienne Walkways
3:20
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09
Track Nine (Bonus Track)
5:05
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10
Spanish Guitar (Phil Lynott Vocal) (Bonus Track)
3:55
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11
Spanish Guitar (Gary Moore Vocal) (Bonus Track)
3:55
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12
Spanish Guitar (Instrumental) (Bonus Track)
3:48
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Album Information

Total Tracks: 12   Total Length: 54:15

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guitar rock!

Guitarrock

Quality! the sound is exceptional even if this is Gary's first solo outtake-you have it all guitar hystrionics, wild vocals etc....great guitar rock! now if chucker just restrained itself a bit...

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Great We Want Moore

allen40

As a Thin Lizzy and Gary Moore fan it is great to have been able to download Gary's first solo album with bonus tracks.The cover of Don't believe a word is very different to the Thin Lizzy track, as a slow ballad but fits in with the other songs on the album.We want moore of Gary Moore.

They Say All Music Guide

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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