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27 Mar 2017

Skid Row "34 Hours" 1971 feat, Gary Moore second album Irish Hard Blues Rock












Skid Row "34 Hours" 1971 feat, Gary Moore ultra rare second album Irish  Hard Blues Rock
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https://www.irishrock.org/irodb/bands/skidrow.html

This is not the band that debuted in 1989! This is an Irish band from the early 70s with a very young Gary Moore on guitars. This is bluesy hard rock. You can hear the talent on this record much like Alex Skolnick in Testament. Years after the band broke up, they lost the rights to the name and it was picked up by some derelict New Jerseyites. It is enjoyable. The other album they released was self-titled.....................

Originally released in 1971, as this was the Irish '70's hard rock band's second of two albums. NOT to be confused with the later '80's hair metal band with front man, pretty boy Sebastian Bach (I actually saw a site somewhere when the contributing fan(s) who wrote the opening page spoke as IF this was that same band). How lame! '34 Hours' is a worthy blues rock classic that features a young guitarist Gary Moore. Tunes I liked the most were "Night Of The Warm Witch", "Mar" and the straight-ahead boogie rocker "Go, I'm Never Going To Let You Go". Personnel: Gary Moore-guitar & vocals, Brush Shiels-bass & vocals and Noel Bridgeman-drums. Should appeal to fans of Thin Lizzy, B.T.O., Montrose, Golden Earring and Mountain.......ByMike Reed........

The original Skid Row was the blueprint for guitarist Gary Moore's long and varied career. Moore was just shy of 18 years old when this album was released in 1971, but you wouldn't know it by listening to his incredible guitar playing; in spite of his youth, his playing is skillful and mature. 

The band is rounded out by bassist "Brush" Shields and drummer Noel Bridgeman, who along with Moore, are a tight and cohesive power trio. Along with their rival band in Ireland, Taste (featuring an equally young Rory Gallagher on guitar), Skid Row is not the least bit afraid to let loose and jam, and they do so frequently throughout this album. But unlike most jam bands, there's one major exception with Skid Row: they hold your attention and don't bore you. 

Some interesting tidbits about the album: the track "Mar" features (according to the liner notes) "the studio receptionist's boyfriend" on bass, and the title "34 Hours" was the exact amount of time the band spent in the studio recording the album. Taking into consideration the complexity of some of the material with their odd time signatures and dynamics, this is a pretty astounding achievement! As you might expect, Gary Moore's guitar playing is the focus here, and his already immense talents are very much on display. Very impressive work for someone so young! 

You'll have to look long and hard to find this CD now, but it will be well worth it if you can; I recommend it highly!....ByChuck Potocki................
Brendan "Brush" Sheils, started his career as the bass player with Dublin beat group, The Up Town Band which he left in 1967 to form his own group. In a December, 1968 interview in Spotlight, he said he got the nickname "Brush" from Barry Blackmore, the road manager for the Up Town Band because of his long hair and moustache. Although he claimed in the article that he "didn't really like it" it has stuck for the last 40 plus years! The original name of the new group was "Your Father's Moustache" but in October, 1967, Brush announced he was renaming the group, Skid Row. In the following years, Skid Row would become one of the best known of the new Irish Rock Groups, along with bands like Rory Gallagher's Taste and Phil Lynott's Thin Lizzy. 

The original lineup featured Brush on bass, Noel Bridgeman on drums, Bernard Cheevers on guitars and future Thin Lizzy star, Phil Lynott on vocals. By 1968, Noel was replaced by Robbie Brennan and Gary Moore had taken over the guitar spot. The band built a steady reputation on the Dublin beat scene and was soon hailed as the top group in Ireland. During 1968 many beat group musicians had joined the ranks of the showbands, but the Brush was not interested. An article in the December 7th issue of Spotlight wondered why Phil Lynott had not landed a spot with a showband, like many of his peers and several top entertainment managers in Ireland, including Oliver Barry and Jim Hand thought he would not get an offer (despite his obvious talent) because of his colour. 

The following year, Phil left to form Orphanage (a precursor to Thin Lizzy which included Brian Downey) and Skid Row was reduced to a three piece with Brush taking on the lead vocal spot. In his column in Spotlight in early October, 1969, Pat Egan reported that Gary Moore had been "loaned" to Granny's Intentions to help out on their latest recording effort and had decided to stay with the band, leaving Skid Row without a guitarist. The same column also announced that a Skid Row "Farewell Dance" would be held the following Sunday in the Crystal with both Phil Lynott and Gary Moore in attendance. Robbie Brennan left the band and was replaced by Noel Bridgeman who returned to the band. In the end, Gary did not leave and a few weeks later, Pat was touting the band as "Ireland's Best Hope for International Success." 

The lineup of of Shiels, Bridgeman and Moore would stay together for a short time the first time around. In early 1970, the band was managed by Brian Tuite and Peter Bardon (who also looked after the newly formed Thin Lizzy). The band had reached the top of the scene in Dublin and been back and forth to London recording and playing in an attempt to break big in the UK. They recorded their first album which would be titled simply, Skid. At the time, the band was being touted as Ireland's next Taste which Rory Gallagher had lead to success in England and the continent. Brush Shiels was adamant in interviews that despite the fact that both bands were trios, the similarities ended there. Said Brush in Spotlight, "Don't compare us with Taste. The only similarities are that we are both two guitar with drums groups and Gary Moore's hair is about the same lengths as Rory Gallagher's. That's as far as it goes." 

Their first album was all original material with numbers contributed by all three members of the band. They had high hopes of making the album charts in England. Around this time, the band more or less emigrated to London, coming home to Ireland only for the occasional gig. They also undertook their first trip to the States, which Gary Moore commented was an influence on their music, adding, "We heard lots of good music over there." A June, 1971 Spotlight interview reported that they had recorded an album, "34 Hours," a few months earlier. Brush referred to their musical style as "controlled freedom." 

In the November 21, 1971 issue of Spotlight, rock guru, Pat Egan hinted that Gary Moore may be considering a change of scenery. Less than a month later, it was reported that Gary had left to form his own group and Eric Bell from Thin Lizzy stood in for a couple of gigs as Paul Chapman had not yet joined the band. 

Six months later, in August, 1972, the band split. Paul Chapman returned to his native Wales while Noel Bridgeman would soon join the Gentry. In an interview in Spotlight in October, 1972, Noel recounted the split of the band. "It was money that caused the the break up of Skid Row. At the end, when Paul Chapman was in the band, we were beginning to play ridiculously well. But there was no money. For two weeks, we didn't get a penny." 

In the meantime, Brush Shiels returned to Ireland from London and formed a new band with John Wilson, formerly of Taste, on drums and Adrian Fisher on guitar. The band, called "Brush" played its first gig on September 1st in London's Marquee Club and it's first Irish dates were in early October, 1972. John Wilson had formed the band Stud after leaving Taste. Originally, the band was to be called Stud Row (for obvious reasons), but soon settled on Brush. Managed by Eddie Kennedy, the band would make a good effort to break in Europe, but it was not to be. Playing music that was described as a cross between Taste and Slade, the band would not last long. 

In May, 1973 a feature in Spotlight reported that "Skid Row Lives Again." The article reported that Brush Sheils was reforming the band. He said that "business hassles split Skid Row" and "Brush was just got together to finish off Skid Rows' old dates." The article went on to say the new band would be a four or five piece with "two guitars, bass, drums and organ." The band took some time to get together, but it finally happened in late August of 1973. The lineup featured: Eamonn Gibney (vocals), Ed Dean (guitar), and John Wilson (drums). Managed by Ollie Byrne, Brush was quoted as saying the band was firmly focused on making it in the USA, as opposed to England, as Brush surmised "anyway that scene is dead in England." 

In his December 27th, 1973 "Let It Rock" column, Pat Egan reported that the band had added a keyboard player, Kevin McAlea (brother of Miami's Des Lee) to Skid Row's lineup. Kevin had previously played with The Gentry, among others. In March, 1974 a blurb in Spotlight announced "Brush Quits Rock Scene." It reported that he had called it a day after the reformed Skid Row experienced many personnel and management problems. 

At this point, the band continued to flounder somewhat. A report in Pat Egan's column in mid January stated manager Ollie Byrne had "fired" the band over a dispute to which an unnamed member of the group was reported to say, "We're out on our own now and intend to stay that way." At this time John Wilson left the group and was replaced by Paddy Freeney. It was rumoured John was joining the Freshmen. In the end, Ollie and the band patched things up and Skid Row went back on the road, but not for long. 

A few months later, in April, 1974, Brush teamed up with Eric Bell (after he left Thin Lizzy) and they formed the Bell/Brush band along with Tim Creedan (drums) who had previously been with Orphanage. The band played their first gig in the Carlton, Kilkenny. 

In the October 3, 1974 issue of Spotlight, the RockOn column (edited by Smiley Bolger and Colin McClelland) reported that Brush and Tim Creedon were off to London with former Skid Row vocalist Eamonn Gibney to play with ex-Sparks guitarist A.D. Fisher. In the same column, the question was asked, "what now for Eric Bell," so we assume the Bell-Brush Band came to an end only six months after it was formed. However, a blurb in the same column a few weeks later said the Bell/Brush band would be playing a gig in the New University of Ulster on Friday, November 8, 1974. It also mentioned that Eamonn Gibney had joined the band. 

In the December 12, 1974 issue of Spotlight it was announced that Skid Row (Shiels, Moore and Bridgeman) would be reuniting for a series of gigs. However, Gary Moore said it was not a permanent outfit and they would simply be coming together from time to time. ......................   
Skid Row was a Dublin based blues-rock band of the late 1960s and early 1970s, fronted by Brendan "Brush" Shiels (born in 1946, Dublin, Ireland). It was guitarist Gary Moore's first professional band. The band was formed in 1967, comprising Brendan 'Brush' Shiels on bass guitar (born in 1946, Dublin, Ireland - formerly of The Uptown Band), Noel 'Nollaig' Bridgeman on drums (born in 1947, Dublin - currently with Van Morrison), Bernard 'Bernie' Cheevers on lead guitar (born in 1948, Dublin - formerly of The Intruders), and Phil Lynott on vocals. Robbie Brennan temporarily replaced original drummer Bridgeman until June 1969 and Cheevers was replaced by the 16-year-old Gary Moore in early 1968, and the band recorded a single, "New Places, Old Faces" / "Misdemeanour Dream Felicity", for the Irish 'Song Records' label (the only released recording of Lynott with Skid Row). Later that year Shiels dropped Lynott from the line-up, converting Skid Row to a power trio by making Sheils the lead vocalist. By way of compensation, Shiels gave him a bass guitar he had bought from former musician Robert Ballagh for £49 in 1967 while with the Uptown Band, he taught Lynott to play bass, and after a stint with 'Orphanage' Lynott went on to international fame as founder, bassist and vocalist for Thin Lizzy. The band recorded a second single for 'Song', "Saturday Morning Man" / "Mervyn Aldridge". These two singles, plus three tracks from a BBC recording, were issued on the 'Hux' label as Live and on Song in April 2006. At the end of 2006 a number of Skid Row demo tapes featuring Phil Lynott were discovered. These were his earliest recordings (from 1968) and had been presumed lost for decades. With the returning Bridgeman, Skid Row played support to some of the great rock groups of the 1960s, including Fleetwood Mac in January 1970. Moore was influenced by the Fleetwood Mac guitarist Peter Green, who was in turn impressed by Moore's guitar playing and introduced him to the Columbia/CBS record company. A third single, "Sandie’s Gone (Part 1)" / "Sandie’s Gone (Part 2)", was released on the band's new label in April 1970, and a number of sessions and concerts were also recorded for the BBC during this period. The band released its first album Skid, in October 1970. A second LP, entitled 34 Hours - so called because it took them a mere 34 hours to record it - was released in early 1971, preceded by the single "Night Of The Warm Witch" / "Mr. De-Luxe". Skid Row performed on the legendary German TV music show Beat Club on 18 March 1971. There were short tours of Europe (October 1970, with Canned Heat) and of the USA (October/November 1970 and August and October 1971). A widely bootlegged show billed as 'The Whiskey, Los Angeles, August 5, 1970', and featuring John Bonham as a guest, is more likely from August 1971. A third album was recorded in the Autumn of 1971 but Moore left the band in December 1971 just before another planned US tour. He was temporarily replaced by Eric Bell (from Thin Lizzy) for some live appearances before Paul Chapman became the bands full-time guitarist. Moore later played with Thin Lizzy, replacing Eric Bell. Chapman overdubbed Moore's guitar tracks on the unreleased album but neither version was made public for almost twenty years. As the band faltered, Chapman left in July 1972 (later joining UFO). Shiels then teamed with drummer John Wilson (ex-Them, Taste and Stud) and future Sparks guitarist Adrian Fisher to form a band named simply 'Brush'. Skid Row reformed in Ireland in 1973, initially with Shiels, Wilson, singer Eamonn Gibney (ex-Alyce) and guitarist Ed Deane, later adding keyboard player Kevin McAlea. The Shiels/Deane/Wilson line-up released the single "Dublin City Angels" / "Slow Down" (in 1971 according to Deane's website, but this seems too early). John Wilson was replaced by Paddy Freeney before the band split again in early 1974. For the next few months Shiels played in the 'Bell-Brush Band' with Eric Bell and Timmy Creedon (drums, ex-Orphanage), sometimes joined by Eamonn Gibney. At the end of the year Shiels, Moore and Bridgeman briefly reunited for a series of gigs, and a 1975 line-up of Shiels (guitar/vocals), Bridgeman, Jimi Slevin (lead guitar/vocals, ex-Alyce, ex-Peggy's Leg) (born June 1950, Dublin), Timmy Creedon (second drummer/vocals) and Johann Brady (bass) recorded the Skid Row single "The Spanish Lady" / "Elvira". In 1976 Jody Pollard (guitar, ex. Elmer Fudd) replaced Pat O'Farrell in a line-up with Shiels (vocals/mandolin), Bridgeman (drums), John Brady (bass) and Dave Gaynor (drums), recording the Phil Lynott-produced double A-sided single "Coming Home Again" / "Fight Your Heart Out" and unreleased track "Skid Row Flashback". The 1976 double-disc live album of Rock n' Roll standards Alive And Kickin featured Shiels, Bridgeman, Brady, Pollard, Gaynor and Ian Anderson. In 1978 Pollard rejoined, this time replacing Eric Bell alongside Shiels, Bridgeman, Brady and Joe Staunton (guitar, ex-Orphanage). Skid Row had little commercial success outside Ireland and the UK, although Skid reached #30 on the UK Albums Chart. More of their recorded material was released between 1990 and 2006. In 1987 Moore sold the name 'Skid Row' to the American heavy metal band for $35,000. Sebastian Bach: "When (Skid Row) got signed to Atlantic, Gary Moore heard about it and said we could have the name for $35,000 U.S. dollars. 'We have to pay Gary Moore 35 grand to use the name,' and so we, as a band, did buy the name from Gary Moore. We were all glad to do it because it is a great name for a band. I remember saying, 'Wow, that's a lot of $, but we gotta do it!'" Shiels has said that he has always been unhappy at the group 'stealing their name', and said of their manager Doc Magee, "he could be Doc Marten for all I know...but he's going to get a kick up the arse". He still occasionally performs as 'Brush Shiels' Skid Row', as recently as February 2005. Bridgeman went on to perform studio work with Clannad, The Waterboys and Altan. Brush Shiels returned to his Skid Row legacy once more releasing Mad Dog Woman (originally titled Skid Row Revisited) - an album of new material and re-recordings of Skid Row songs - through his website in June 2009. He also thanked the other Skid Row "for the generosity of spirit in acknowledging the contribution of the original Skid Row" by using the name. ..............................


Tracklist 
1 Night Of The Warm Witch (Incl. The Following Morning) 9:04 
2 First Thing In The Morning (Incl. Last Thing At Night) 1:56 
3 Mar 6:35 
4 Go, I'm Never Gonna Let You Part 1 (Including Part 2) 8:50 
5 Lonesome Still 3:50 
6 The Love Story Part 1 (Incl. Part 2-4) 5:08 
Albums 

Skid (1970) 
34 Hours (1971) 
Skid Row (1983) 
Gary Moore/Brush Shiels/Noel Bridgeman (1990) 

Singles & EPs 

New Places Old Faces (1969) 
Saturday Morning Man (1969) 
Sandy's Gone (Mar 26, 1970) 
Night Of The Warm Witch (Apr 30, 1971) 

johnkatsmc5, welcome music..