Series: Guitar Recorded Version TABLATURE
Artist: Gary Moore

The finest effort yet from Gary Moore, Includes color photos and a special introduction section. Eleven songs in all.

While Gary Moore has made his mark as an international star player/singer/songwriter - he has been somewhat of an enigma to the American music audience. Too talented and original to be just another flash metal guitarist - yet too hard and fast to appeal to the critical elite, Moore now will finally gain the attention he deserves with his latest musical offering, a respectful and poignant homage to the soundtrack of his adolescence, aptly titled "STILL GOT THE BLUES”.

The blues, after all, was where it all began for Gary Moore. Moore watched the British blues explosion Witha wide-eyed wonder that remains with him to this day, and while it's perhaps his versatility as a player – from the hard rock of his early work with Thin Lizzy, to the often jazzy, sometimes Celtic inclinations of his solo work - that has earned him the reputation of one of the greatest contemporary guitarists, it's his natural gravitation towards the blues that makes "STILL GOT THE BLUES" such an essential chapter In the Gary Moore Story.

Moore himself says: "I'm basically a blues player who just got mixed up in heavy metal for a while." And anyone who's heard the likes of "Parisienne Walkways," "Empty Rooms" or "The Loner" will recognize that.

Moore actually started playing when he was 10, after his father, a local Belfast promoter, bought him a guitar off of one of the musicians in one of his show was a huge acoustic contraption, a German Framus model that looked like a cello next to the tiny 10 year-old, but Moore took it home and in the first week learned to play "Wonderful Land" by The Shadows by detuning the strings so his fingers could reach the right notes.

"I drove my mum crazy," he recalls, "because I wouldn't go out and play football or join the Boy Scouts, I'd just sit at home and play the guitar." But to the young Belfast boy, learning to play the guitar was something that took on even more significance the moment he heard John Mayall's definitive "BLUESBREAKERS" album with Eric Clapton on guitar.

"I can still remember someone putting "All Your Love" (a track from "BLUESBREAKERS" originally recorded by Otis Rush) on a record player and me reeling back from it going, 'God, what's THAT?!!!' says Moore. "I'd never heard a guitar sound so powerful before, because until then, guitars had al--yayssounded so thin and dinky. Suddenly, Eric Clapton had turned everything upside down overnight, and for all the kids atschool the "BLUESBREAKERS" album was the hip one to get into."

By this time Moore had a "proper" guitar, a Fender Telecaster that he'd persuaded his dad to buy on time, but only on the condition that he joined a "horribIe" band called Dave And The Diamonds. His dad would still be paying for that guitar two years after he left home, but Moore soon moved on to form his own blues band, a trio called Platform Three, and then eventually to Skid Row, his first professional band.

"There was a great blues scene in Belfast during the late '60s," says Moore. "Butthere wasalsoa big blues scene in Dublin, and I used to travel down every Wednesday night to play with a band called The Method. It was there that I bumped into Brush Shiels, the bass player from Skid Row, and he asked meto join the band. I was unsure at first because they weren't a blues band, so I made some inquiries and was told by the bass player in The Method thatthey had this 'really freaky singer - a big black guy who did strange things with an echo on his voice,' and that intrigued me enough to give it a go."

So Moore found himself Dublin-bound. The "really freaky singer" was, of course, Phillip Lynott, with whom Moore would enjoy a string of successes over the coming years, and more importantly perhaps for the young guitarist at this time, the band also gave him the chance to meet his all-time idol. Fleetwood Mac's Peter Green.

When Lynott left Skid Row to form Thin Lizzy, the band remained a trio with Moore taking on a more prominent role. Moore and Green were ultimately to kindle a flame of mutual respect after Skid Row opened for Fleetwood Mac in Dublin. Green was impressed enough to invite the youngster back to his hotel after tne gig for a jam, and even tried to help the band secure a record deal.


Anno - Titolo - Autore

1965 - All Your Love (I Miss Loving) - Otis Rush
1959 - As The Years Go Passing By - Daedric Malone
1990 - King Of The Blues - Gary Moore
1990 - Midnight Blues - Gary Moore
1990 - Moving On -Gary Moore
1966 - Oh Pretty Woman - A.C. Williams
1990 - Still Got The Blues - Gary Moore
1990 - Texas Strut - Gary Moore
1989 - That Kind Of Woman - George Harrison
1955 - Too Tired - Johnny Watson, Maxwell Davies, Soul Bihari
1957 - Walking By Myself - J.A. Lane

96 pages

Price: €22,99