Some shows are so momentous, they pass into rock 'n' roll folklore. When Gary Moore stepped onto the stage of Basel's Baloise Session on November 13, 2008, it was a true one-off, showcasing one of blues-rock's biggest names on one of the worlds respected stages. Nobody in the crowd that night suspected the great Irish bluesman was close to the end. But when Moore passed away little over 2 years later, aged just 58, the show took on added poignancy, kept alive in the memories of those who attended. Now, more then 15 years later, the release of Live From Baloise Session on Artone/Provogue resurrects the much-missed Irishman, bringing his blazing talents back into the spotlight, catching the sparks of that night, and bottling a performance that stands amongst Moore's very best.

For more than four decades, Robert Forster's strengths have remained consistent, even as his style has subtly evolved. Vocal melodies always form the center of his songs, which often start with a simple, near-spoken line and organically resolve. The initial sparseness accents rhythm over melody and hints at Forster's emergence as a songwriter during the punk era. Forster's talent as a vocalist similarly aligns. While he often relies on an understated deadpan, he's able to express a full spectrum of feelings. Opener "Tell it Back to Me" is a sincere story where "we kissed on a bench." After a neutral beginning, Forster's delivery in "Such a Shame" gradually expresses the gruff disappointment of its title. "All of the Time" moves from its stolid opening line, "there's propaganda, and there's truth," to a furtive whisper in the third verse, to vulnerable and sweet wordless singing in the coda. "Foolish I Know" returns his jaded bluntness to the foreground, with lines like, "he's handsome and he's unattached."

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In some ways, the Sweet epitomize all the tacky hubris and garish silliness of the early '70s. Fusing bubblegum melodies with crunchy, fuzzy guitars, they looked like a heavy metal band but were as tame as any pop group. It was a dichotomy that served them well as they racked up several hits in the U.K. and the U.S. The Sweet were smart enough to latch on to the British glam rock fad, building a safer, radio-friendly, teen-oriented version of Queen, T. Rex, and Gary Glitter. By the end of the '70s, the group's time at the top of the charts had expired, but their hit singles lived on not only as cultural artifacts but also as the predecessors for the pop-metal of the '80s. The band's competing incarnations, led by bassist Steve Priest and guitarist Andy Scott, continued to perform live and occasionally record into the early 2020s.

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