In a career dating back to the 1960s he has played with bands including Thin Lizzy, Colosseum II, Greg Lake and Skid Row as well as having a successful solo career.
Moore started performing from a young age and got his first good guitar at the age of 14. In a career lasting over 30 years he has demonstrated that he is a fine musician, and his unique style of playing has adapted to very different music genres, including jazz rock jazz, blues, electric blues, hard rock, celtic rock and heavy metal.
One of his most famous non-blues records is Wild Frontier, his first studio album after a trip back to his native Belfast, Northern Ireland in 1985, this album has several songs about Ireland and even the music itself is steeped in Celtic roots. The title track was intended to be sung by Phil Lynott, however Lynott's death in January 1986 prevented that. The album is dedicated to Lynott's memory, with the words "For Philip" on the rear cover.
Wild Frontier contains the hit "Over the Hills and Far Away", which reached #20 in the UK as well as a cover of the Australian band The Easybeats' hit of the middle of the 1960s, "Friday on My Mind". The Max Middleton-penned "The Loner" was originally recorded by Cozy Powell for his Over the Top album in 1979 (which Moore did perform on, albeit not on Powell's recording of "The Loner"), but was substantially altered by Moore for his own recording, thus he was credited as a co-writer.
For blues fans, Moore's best recorded, live performance on video is "LIVE BLUES" recorded in a small night club in London and was released in 1992 on VHS. It is now available on DVD as well. "LIVE BLUES" also features two songs with B.B. King appearing on stage with Moore. "The Thrill Is Gone" on this recording is probably the best version of this, complete with More's Midnight Horns, female backup singers and dueling guitars. Many of Moore's standard songs are on this 90 minute show and were mixed better than most of the studio versions of the same tunes for a very rich and full sound. Even Moore's voice sounds better than it usually does in the studio. Moore did not seem interested in touring the United States.
Connection with Peter Green
According to numerous interviews he has given to guitar magazines, he was the protege of British Blues pioneer Peter Green, whom he had always admired ever since the Bluesbreakers days. When Green quit Fleetwood Mac and the entire music scene, he sold his famous nasal-sounding 1959 Gibson Les Paul to Moore for the same price that Moore had managed to sell his then guitar (a Gibson SG) for. The nasal sound of the neck pickup on Green's guitar was not, as used to be believed, the result of the pickup having been turned backwards, but instead its two coils had been - perhaps accidentally - reconnected in parallel and out of phase, as per the "in between" positions of a Fender Stratocaster. Moore has used this guitar in the recordings of some songs of his albums Still Got The Blues, After Hours and Blues For Greeny. Green and Moore also reportedly had a disagreement regarding what guitar the former was playing in the song "Albatross". Moore insists it was the Les Paul, because the guitar tone was particularly warm and rich in the bass, while Peter Green maintains he was using a Strat, as the vibrato in that song was not finger vibrato, but subtle tremolo arm vibrato. Up to the day of his death, Green and Moore remained good friends.
Guitars used
Over the years Gary has used numerous guitars. These include: Peter Green's 1959 Gibson Les Paul, Peter Green's 1961 Fender Stratocaster and 1950s Gibson Les Paul Junior. He has also used guitars from Charvel, Ibanez, Hamer, Jackson and Heritage. Amplification has generally come from Marshall, though Soldanos and Fender have also been used, as well as transistor-driven Dean Markley units (especially in the studio). He also has used numerous effects over the years. these include; Delay units such as the Echoplex, Overdrive/Booster units such as the Boss DS-1, Ibanez Tubescreamer variants, Marshall Bluesbreaker and Guv'nor pedals as well as Wah-Wah pedals such as the Vox Wah. He appears nowadays to favour Gibson and Fender Guitars through Marshall amps with any of the above Overdrive pedals and Wah pedals to make his sound.
Solo career
In 1973 he released his first solo album as the Gary Moore Band. In 1979 his solo career started again with help from Phil Lynott, the combination of Gary's blues based guitar and Phil's voice produced "Parisenne Walkways" which reached the UK Top Ten in April 1979 and the no.2 album 'Black Rose'. After a series of powerful rock records Gary returned to blues music with Still Got the Blues, with contributions from B. B. King, Albert King and Albert Collins the album was well received by fans and a huge success. Gary stayed with the blues format until 1997 when he decided to experiment with modern dance beats in Dark Days In Paradise; this left many fans as well as the music press confused. Back to the Blues saw Gary return to the tried and tested blues format.
Albums
* Grinding Stone, 1973
* Parisienne Walkways, 1977
* Back on the Streets, 1978
* Corridors of Power, 1982
* Live at the Marquee, 1983
* Rockin' Every Night - Live in Japan, 1983
* Victims of the Future, 1983
* Dirty Fingers, 1984
* We Want Moore, 1984
* Run for Cover, 1985
* Wild Frontier, 1987
* After the War, 1989
* Still Got the Blues, 1990
* After Hours, 1992
* Blues Alive, 1993
* Ballads & Blues 1982-1994, 1994
* Blues For Greeny, 1995
* Dark Days in Paradise, 1997
* Out in the Fields - The Very Best of Part 1, 1998
* Blood of Emeralds - The Very Best of Part 2, 1999
* A Different Beat, 1999
* Back to the Blues, 2001
* Power Of The Blues, 2004
* Old New Ballads Blues, 2006
* Close As You Get, 2007
* Bad For You Baby, 2008
Singles
* Parisienne Walkways
* Out in the Fields
* Empty Rooms
* Wild Frontier
* Still Got the Blues
The Future (2005-present)
Later on in 2006, Gary will support BB King on his 'Farewell UK Tour'. It unfortunately did not lead to a tour of the United States with BB King.
The studio album entitled 'Old New Ballads Blues' was a follow up of 2004's 'Power of the Blues' and it featured new material as well as new versions of fan favourites 'Midnight Blues' and 'All your Love'
Gary Moore has also sold his Les Paul that was given to him by Peter Green to a private owner.
On February 6th 2011, he died from a heart attack in his sleep while on holiday in Spain.
External links
* The Official Gary Moore World Wide Website: http://www.gary-moore.com/
* The Lord Of The Strings - World Wide Gary Moore Fansite: http://www.garymoore.hu/eng.htm Thanks for the music.
Don't Let Me Be Misunderst
Gary Moore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sometimes I feel a little mad.
Don't you know that no one alive can always be an angel.
When things go wrong, it seems so bad.
I'm just a soul whose intentions are good.
Oh Lord, please don't let me be misunderstood.
With a joy that's hard to hide.
And sometimes it seems all I do is worry,
And then I show my other side.
Cause I'm just a soul whose intentions are good.
Oh Lord, please don't let me be misunderstood.
If I seem edgy, I want you to know
That I'd never mean to take it out on you.
Life has its problems and I get my share,
That's one thing that I never mean to do.
Cause I love you.
Cause I'm just a soul whose intentions are good.
Oh Lord, please don't let me be misunderstood.
If I seem edgy, I want you to know
That I'd never mean to take it out on you.
Life has its problems and I get my share,
And that's one thing I never mean to do.
Cause I love.
Oh baby, don't you know I'm human
And have thoughts like any other one.
And sometimes I find myself alone,
Regrettin' some foolish things that I have done.
Cause I'm just a soul whose intentions are good.
Oh Lord, please don't let me be misunderstood.
Cause I'm just a soul whose intentions are good.
Oh Lord, please don't let me be misunderstood.
No, no, no, misunderstood.
Oh yeah, yeah, don't let me be misunderstood.
Please don't let me be misunderstood.
The song "Don't Let Me Be Misunderstood" by Gary Moore is a powerful plea for understanding and acceptance. The lyrics express the singer's frustration at being judged or not fully understood by those around him, despite his best intentions. The opening lines, "Baby, do you understand me now? Sometimes I feel a little mad," set the tone for the rest of the song, as the singer explains his dual nature - sometimes happy and carefree, other times worried and edgy.
The chorus, "I'm just a soul whose intentions are good. Oh Lord, please don't let me be misunderstood," is a heartfelt appeal to be seen for who he truly is - a person with good intentions, but also flaws and complexities. The lines "If I seem edgy, I want you to know that I'd never mean to take it out on you" highlight the singer's desire to maintain a positive relationship with those around him, even when he's experiencing difficulties.
Throughout the song, there's a sense of vulnerability and honesty, as the singer admits to feeling regret and making mistakes. But despite these challenges, he still holds onto the hope of being accepted for who he is. The final repetition of "please don't let me be misunderstood" echoes this plea for understanding, giving the song a poignant and powerful conclusion.
Line by Line Meaning
Baby, do you understand me now?
Sometimes I feel like you don't truly get me.
Don't you know that no one alive can always be an angel.
Everyone makes mistakes, even the best of us.
When things go wrong, it seems so bad.
It's easy to feel overwhelmed when everything seems to be falling apart.
I'm just a soul whose intentions are good.
I may not always do the right thing, but my heart is in the right place.
Oh Lord, please don't let me be misunderstood.
I hope that you can see past my mistakes and understand my true intentions.
Baby, sometimes I'm so carefree.
There are times when I am full of joy and happiness.
And sometimes it seems all I do is worry,
Other times, anxiety and stress get the best of me.
Cause I'm just a soul whose intentions are good.
No matter what, I want to be seen as someone with a pure heart.
If I seem edgy, I want you to know
When I seem irritable or on edge, it's not about you.
That I'd never mean to take it out on you.
I don't want my own problems to negatively affect our relationship.
Cause I love you.
Above all, I care about your feelings and our connection as partners.
Oh baby, don't you know I'm human
At the end of the day, I am only human and not immune to flaws and missteps.
And have thoughts like any other one.
Just like everyone else, I have my own worries and doubts.
And sometimes I find myself alone,
There are moments when I feel isolated and disconnected from those around me.
Regrettin' some foolish things that I have done.
I do have regrets about things I've done wrong in the past.
No, no, no, misunderstood.
I don't want to be seen as something I am not.
Oh yeah, yeah, don't let me be misunderstood.
Please understand my true intentions and forgive my mistakes.
Please don't let me be misunderstood.
I hope that we can continue to understand each other and grow together.
Lyrics © CHRIS-N-JEN MUSIC
Written by: Bennie Benjamin, Gloria Caldwell, Sol Marcus
Lyrics Licensed & Provided by LyricFind
@PhilFeedback
Here’s the way the tabs would be written out.
With heavy palm mute. On the A string you start out on the 7th fret. - 7 5 7 7
5 7 7. - 5 7 7 then move to the D string 4 5 4 repeat it multiple times.
Then make the chord on the A string 7th. Fret with the 9th. On the D string. Hit the chord twice -
Then slide on down the neck staying on the A and D strings to the chord 5 on the A string and 7 on the D string.
then A string 3rd. Fret with the 5th. On the D string. - then A string 2nd. Fret with the 4th. On the D string.
Hit the open A string then on the E string its 2 -3 - open.
Move on to the G string on the 9th. Fret - 9 7 9 9 7 9 9 then go to the B string 7 8 7
@PhilFeedback
Here’s the way the tabs would be written out.
With heavy palm mute. On the A string you start out on the 7th fret. - 7 5 7 7
5 7 7. - 5 7 7 then move to the D string 4 5 4 repeat it multiple times.
Then make the chord on the A string 7th. Fret with the 9th. On the D string. Hit the chord twice -
Then slide on down the neck staying on the A and D strings to the chord 5 on the A string and 7 on the D string.
then A string 3rd. Fret with the 5th. On the D string. - then A string 2nd. Fret with the 4th. On the D string.
Hit the open A string then on the E string its 2 -3 - open.
Move on to the G string on the 9th. Fret - 9 7 9 9 7 9 9 then go to the B string 7 8 7
@michaelstephen819
Soul, blues, metal, folk - Gary could do them all. So glad to have met him in person and seen him live, too. Oh, and seeing him with Phil Lynott was one real highlight.
@losrolling8027
One of my favorite guitarist of all time 🎵🎵🖤✌🏿🔝🔝
@andyrule1606
This guy played anything and was never surpassed
@scottybfd
I used to play this song about 20 years ago (GM version obvs). I'm practicing with my sons next week at a recording studio with rehearsal rooms on Marshall gear similar that I used to play on. Both my lads are as green as they come, bass and drums and our lead guitarist is my nephew. He lost his dad to cancer and decided it was time to learn when he inherited his dads strat in 2017 but decided it was time to learn a couple of years later, a year today, a blondie that I owned briefly before our Tom got his tele swiped. Anyway, I digress. We are a fully family blood band and just seeing how it goes and I really fancy this song as our in. Sub n shit what you do nowadays and I'll try my best. Much love
@screaminone
One of my absolute favorites!!
@laney50w
One of the best cover tunes ever...Gary fucking rocks!
@manuelortizcastillo3418
Bien perrona prima
@nadija607
Power metal
@screaminone
Paul Nauseef on vocals, right? THAT is one of the best screams ever at the end!!
@qdaveq6597
Charlie Huhn on vocals.