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.
Oh Pretty Woman
Gary Moore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Says all your cheap paint and powder ain't gon' help you none
'Cause she's a pretty woman right down to her bones
So you might as well leave your skin alone
Pretty woman
What's the matter with you?
Can't make you love me, no matter what I do
Oh, pretty woman whatcha gonna do
You kept on foolin' around 'til I got stuck on you
So you can drop your messin', come down off your throne
Stop using my poor heart as just a stepping stone
Pretty woman
What's the matter with you?
Can't make you love me, no matter what I do
Oh, pretty woman that's all right for you
Now you just go on doing what you wanna do
But someday when you think that you've got it made
You're gettin' water deep enough so you can't wade
Pretty woman
What's the matter with you?
Can't make you love me, no matter what I do
Oh, pretty woman
Oh, pretty woman
Oh, pretty woman
Oh, pretty woman
Can't make you love me, no matter what I do
Can't make you love me, no matter what I do
Can't make you love me, no matter what I do
Oh, pretty woman
I just can't make you love me
Gary Moore's song "Oh Pretty Woman" is a powerful declaration from a man who's infatuated with a beautiful woman. The song is a mixture of admiration and frustration that is common in relationships. The opening line to the song is "Oh pretty woman, sure's the risin' sun," which is a metaphor meant to describe how the woman in question is captivating and alluring. The next line is "says all your cheap paint and powder ain't gon' help you none," which suggests that the woman doesn't need sexual embellishments to draw the attention of the singer.
Ultimately, the song sees the man attempting to get this woman's attention, but she remains unattainable. He sings "Can't make you love me, no matter what I do," indicating his helplessness, but he continues to pursue her. In the second verse, Moore sings "You kept on foolin' around 'til I got stuck on you, so you can drop your messin', come down off your throne, stop using my poor heart as just a stepping stone." This is a plea for the woman to abandon her flirtatious ways and give the singer a chance to prove his love.
The final two verses suggest that the singer sees the value in the woman's beauty but foresees a time when her appearance fades. He believes that she will eventually realize the value of a genuine connection, but until then, he will continue pursuing her. In conclusion, "Oh Pretty Woman" is a poignant song that shows how sometimes, love can be a frustrating and complex emotion that we have little control over.
Line by Line Meaning
Oh, pretty woman sure's the risin' sun
The singer believes that the woman is so beautiful that it's like the sun is rising just to bask in her glory.
Says all your cheap paint and powder ain't gon' help you none
The singer thinks that the woman's beauty is natural and can't be improved by makeup or other artificial enhancements.
'Cause she's a pretty woman right down to her bones
The singer believes that the woman's beauty goes beyond what is seen on the surface and is a fundamental part of her being.
So you might as well leave your skin alone
Since the woman's beauty is inherent, there's no point in trying to change it or cover it up.
Pretty woman
What's the matter with you?
Can't make you love me, no matter what I do
Despite the artist's attempts to win the woman's affection, they feel like they can't get her to reciprocate their feelings.
Oh, pretty woman whatcha gonna do
You kept on foolin' around 'til I got stuck on you
So you can drop your messin', come down off your throne
Stop using my poor heart as just a stepping stone
The singer is frustrated with the woman's flirtatious behavior and wants her to stop leading them on if she doesn't actually have feelings for them.
Oh, pretty woman that's all right for you
Now you just go on doing what you wanna do
But someday when you think that you've got it made
You're gettin' water deep enough so you can't wade
The singer believes that the woman's actions will catch up to her eventually, and she will get in over her head.
Oh, pretty woman
I just can't make you love me
The artist has come to accept that they can't force the woman to love them and is resigned to this fact.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: A.C. Williams
Lyrics Licensed & Provided by LyricFind