Gary MOORE: After the war LP 1989. with Ozzy Osbourne on vocals (on 2 songs). Check promo videos an exclusive video + an audio review of the album


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After the War is an album by Irish rock guitarist Gary Moore, released in 1989. Like Moore’s prior album Wild Frontier, this album contains elements of his Celtic roots. The instrumental track “Dunluce” is named after Dunluce Castle in Northern Ireland.
The track “Led Clones,” with Ozzy Osbourne on lead vocals, pokes fun at bands such as Kingdom Come who were quite popular at the time and were based on a Led Zeppelin type sound and image; it also appeared on a compilation album. Moore again pays tribute to the memory of his long-time friend and colleague Phil Lynott with the song “Blood of Emeralds”.
“After the War” is the last conventional hard rock album by Moore. His next album marked a departure into blues.

Track listing:
Side one
No. Title Writer(s) Length
1a. “Dunluce”
1. “After the War” Moore 4:17
2. “Speak for Yourself” Moore, Neil Carter 3:42
3. “Livin on Dreams” Moore 4:14
4. “Led Clones” Moore, Carter 6:07

Side two
No. Title Writer(s) Length
1. “The Messiah Will Come Again” (Instrumental; not present on Virgin Records vinyl recording) Roy Buchanan 7:29
2. “Running from the Storm” Moore 4:45
3. “This Thing Called Love” Moore 3:32
4. “Ready for Love” Moore 5:39
5. “Blood of Emeralds” Moore, Carter 8:19
5b. “Dunluce”

guitars, lead vocals
Neil Carter keyboards, backing vocals
Bob Daisley bass
Cozy Powell drums
Don Airey keyboards on “The Messiah Will Come Again,” “Running from the Storm” and “This Thing Called Love”
Laurence Cottle bass on “The Messiah Will Come Again”
Charlie Morgan drums on “After the War”
Simon Phillips drums on “Speak for Yourself” and “Blood of Emeralds”
Brian Downey drums on “Blood of Emeralds”
Chris Thompson backing vocals on “After the War,” “Led Clones” and “Ready for Love,” violin on “Led Clones”
Ozzy Osbourne lead vocals on “Led Clones,” backing vocals on “Speak For Yourself”
Andrew Eldritch backing vocals on “After the War,” “Speak for Yourself” and “Blood of Emeralds”
Sam Brown backing vocals on “Ready for Love”
Miriam Stockley backing vocals on “Ready for Love”

Year Chart Position
1989 UK 23
April 29, 1989 USA 114

Singles from After the War
“After the War”
Released: December, 1988
“Ready for Love”
Released: March, 1989
“Led Clones”
Released: July, 1989
“Livin’ on Dreams”
Released: October, 1989

5.0 out of 5 stars Before the blues…
“After the War” represents Gary Moore’s last heavy metal album,before he turned his attention and immense talents to the blues. Recorded in 1989,it features trademark Gary Moore superspeed guitar work(“Speak for Yourself”), traditional Irish arrangements(“Dunluce”) and a duet with Ozzy Osbourne,”Led Clones” which makes reference to the Led Zeppelin immitators popular at the time; “Ready for Love” is a catchy track with an American feel and the instrumental “Messiah Will Come Again” showcases Moore as an absolute guitar master.

5.0 out of 5 stars Strong songs and great playing by true unsung guitar hero
After The War, Gary’s last rock album until 1997s Dark Days in Paradise, is an album full of great songs marred only by overly polished production. The production leaves many of the songs with a slightly sterile feel. Having heard some of these live, I can say they have more vitality in concert that on this disc.

This album, like Wild Frontier, sees Gary looking at his Celtic roots with songs like Blood Of Emeralds and Dunluce. His cover of Rory Buchanan’s The Messiah will come again is outstanding. He teams with Ozzy Osbourne on the fun Led Clones which pokes fun at bands like Kingdom Come.

This album is clearly the follow-up to Wild Frontier, both in sound and spirit. Actually you could say that this is the third in a trilogy with Run For Cover and Wild Frontier as all three have a similar vibe. Songs like the title track, Ready for Love and Speak for Yourself could easily be inserted into either of those albums.

Anyone looking for outstanding guitar playing that fits into the songs and isn’t just shredding for the sake of shredding will certainly enjoy it. It is a pity that he didn’t find more success on this side of the Atlantic.

Gary Moore’s remarkable career was as long as it was eventful and unpredictable.

With the arguable exception of Jeff Beck, no other guitar legend experimented with a greater variety of musical styles as successfully, radically shifting creative gears every few years, from blues to jazz to fusion to pop to metal and rock — often without the slightest warning.

But reinvention was not on the agenda when the tellingly named After the War arrived on record store shelves on Jan. 25, 1989, boasting much of the same, Celtic-influenced hard rock and ‘80s metal as its 1987 predecessor, Wild Frontier. About the only surprise was a guest cameo from Ozzy Osbourne, who helped Moore make a case against late-‘80s Led Zeppelin-wannabes like Kingdom Come and Badlands with the cheeky, violin-adorned “Led Clones.”

Beyond that, After the War offered predictable samples of the commercial, synthesizer-spiked heavy metal (“Think for Yourself,” “Running From the Storm”), the likes of which Moore had already perfected way back in 1985, on Run for Cover; plus a few moody instrumentals (“Dunluce,” “The Messiah Will Come Again”), the Celtic rockers in “Blood of Emeralds” (his grandest tribute to fallen Thin Lizzy comrade Philip Lynott) and the title track, which addressed the continuing hostilities in his native Northern Ireland.

Admittedly, somewhere in between surprise and familiarity there were also a pair of unexpectedly well-realized, downright infectious pop rockers in the wistful “Livin’ on Dreams” and bouncy “Ready for Love,” but these ultimately turned off as many fans — perhaps more — as they won over.

At the end of the day, After the War suggested that Moore simply didn’t know precisely what to do with his talents at that particular point in time — hence the wilful, almost haphazard recycling of musical styles already beaten to death with better results on earlier efforts. A subliminal question seemed to scream behind every vocal and guitar lick, demanding: “Where to next?”

The answer, of course, arrived in resounding form a year later, when Gary Moore shocked everyone (once again) by digging deep into his earliest musical roots and re-emerging as a born-again bluesman via 1990’s Still Got the Blues. Once again, Moore proved that his only true enemy was stagnation, and that embracing the most basic, fundamental, yet infinitely nuanced of musical forms — the blues — was exactly what was needed to give his career a new lease on life, all the way unto his untimely death, in 2011.

Additional information

Weight 0.25 kg


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