Skid Row
Skid

Skid Row (Irish and therefore nothing to do with the excellent American lineup of Sebastian Bach & Co.) were formed in far-off 1967 in Dublin. They were brought together by bassist Brendan Shiels aka Brush, with Noel 'Nollaig' Bridgeman on drums (yes, the future Van Morrison), a certain Bernard 'Bernie' Cheevers on guitar and vocals... a certain Phil Lynott, the future genius composer, bassist, singer, and frontman of Thin Lizzy. In 1969, a sixteen-year-old kid from Belfast joined the group, who would go on to do great things in the future. The name of this talented enfant-prodige was Gary Moore.

Phil Lynott, after recording the single “New Faces Old Places” with Skid Row and learning to play bass with Shiels' help, was pushed out by the latter. The role of singer was taken on by young Gary Moore, by then the band's sole guitarist. The group soon began playing notable venues, thanks particularly to the interest of Fleetwood Mac, especially guitarist Peter Green, who was impressed by Gary Moore's musical prowess. It was Green who introduced the group to bigwigs at Columbia Records: the contract came quickly, and the group recorded and released its debut album in 1970, simply titled “Skid”.

The typical 70's taste gives the record an atmosphere that could only be felt back then. The foundation is quite blue-rock, typical of the late 70s, but the ventures toward other directions are highly interesting. Many bands had this potential for hard-blues during those years, but very few matched the rhythmic power of Skid Row, in addition to the enormous talent of the guitarist, the true driving force of the whole band. The material has all the credentials to list Skid Row among the great promises of the new decade. Think about the excellent opener Sandies Gone, the (perhaps a bit too) long Felicity, with nearly jazz-like bass diversions, not to mention the explosion of guitar in Gary Moore's solo during the apparent calm of Morning Star Avenue, which is incredible. Pure power, evident in tracks like The Virgo’s Daughter rather than The Man Who Never Was, but we're not at perfection: Unco-op Blues feels a bit like filler, and the aforementioned single New Faces Old Places isn’t the height of brilliance. Another flaw might be Gary Moore's voice, a bit raw, but given his young age, it’s quite forgivable considering he plays the guitar so sublimely at twenty. But on the whole, an album of raw and healthy Irish rock.

Ah, how beautiful are these triangular formations of bass-drums-guitar, like Cream, like Rush, like Blue Cheer... like Skid Row. In this excellent debut, the essentiality of the sound is greatly appreciated, as well as the cohesiveness of the three musicians, characteristics that would be confirmed in the superior follow-up “34 Hours” the following year. With Moore's departure, the band lost almost everything: disbanding followed shortly after.

I dedicate this review to the memory of Gary Moore, unfortunately passed away on February 6, 2011, R.I.P.