You live and learn, danke. I have a Glenn Hughes boot somewhere which features one demo from that aborted project - it sounded kick ass with a very funky slap bass (Hughes can slap, but funnily enough given his love for all of black music rarely does it).
Moore always tried to emulate Hughes Thrall, the whole Run for Cover album is basically a tribute to Hughes Thrall as was the G-Force album with ex-Captain Beyond Willy Daffern (Willie Dee was a silly alias) on vocals before. That said, Moore as a person was probably like his guitar playing, constantly clamoring attention and everything/every note is equally important and has to be just right. His record of playing with equals isn't great either. He drove an excellent bassist like Neil Murray nuts by telling him what to play. And he did the same thing with Ginger Baker in BBM. Now, granted, Baker is difficult, erratic and a chore, but one thing you do not have to do is tell him is how to play the drums. Even on the Run for Cover sessions, Moore was so insistent with how he wanted the bass parts (root note in eights and no slides of course), Glenn gave up at a certain point and just handed Moore the bass to do it himself.
I'll never forget how on the later Wild Frontier sessions, Moore preferred a drum machine in the end to a human drummer because he had become such an accuracy obsessive - and that ousted drummer was the guy from Hughes Thrall.
