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.
Texas Strut
Gary Moore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Let me tell you about the Texas blues.
I went down south to Dallas,
to hear those cowboys wail.
Came across that Billy Gibbons
ridin' on that ZZ trail.
I just can't lose with the Texas blues.
I said I just can't lose with the Texas blues.
Got myself in Double Trouble,
when I saw that Texas Flood.
Stevie said The Sky Is Crying,
superstition's in his blood.
I just can't lose with the Texas blues.
I said I just can't lose with the Texas blues.
The Texas blues.
How-how-how-how.
Come on!
I heard that Houston Twister.
He could run you off the tracks.
When he plays that Cold Cold Feeling,
you get the shivers down your back.
I just can't lose with the Texas blues.
I said I just can't lose with the Texas blues.
The Texas blues.
A-how-how-how-how.
Well, I'm going back to Dallas.
Won't go waitin' for no bus.
Ridin' off into the sunset.
You won't see my heels for dust.
I just can't lose with the Texas blues.
I said I just can't lose with the Texas blues.
I said I just can't lose with the Texas blues.
And I just can't lose with the Texas blues.
The Texas blues.
Texas blues.
A-how-how-how-how.
A-how-how-how-how.
Gary Moore's song "Texas Strut" is a homage to Texas blues and the iconic musicians from the Lone Star State. The song is an uptempo blues rock number with a classic shuffle beat, featuring Moore's fiery guitar playing and a call-and-response vocal style.
The lyrics namecheck several famous Texan bluesmen and their signature songs. The opening verse mentions Billy Gibbons, the guitarist from ZZ Top, and his iconic "ZZ trail." The second verse references Stevie Ray Vaughan's "Texas Flood" and "The Sky Is Crying." The third verse mentions the Houston Twister and his rendition of "Cold Cold Feeling." All of these musicians are credited with shaping the sound of Texas blues, and their influence can be heard in Moore's playing.
The chorus repeats the phrase "I just can't lose with the Texas blues," emphasizing the power and resilience of the genre. Despite the challenges and struggles that life brings, the Texas blues can provide solace, inspiration, and a sense of community.
Overall, "Texas Strut" is a celebration of the rich history and culture of Texas blues, and a testament to its enduring appeal and impact on musicians and fans around the world.
Line by Line Meaning
One, two, three, four.
I'm about to play a song and I'm counting in the band.
Let me tell you about the Texas blues.
I'm going to tell you about my love for Texas blues music.
I went down south to Dallas,
I traveled to Dallas to listen to some inspiring blues music.
to hear those cowboys wail.
I wanted to hear the music and singing of the cowboys.
Came across that Billy Gibbons
I bumped into Billy Gibbons of ZZ Top.
ridin' on that ZZ trail.
He was touring with his band ZZ Top.
Got myself in Double Trouble,
I got into a difficult situation.
when I saw that Texas Flood.
When I heard Stevie Ray Vaughan's song "Texas Flood."
Stevie said The Sky Is Crying,
I recall Stevie Ray Vaughan's song "The Sky Is Crying."
superstition's in his blood.
Vaughan had a fascination with supernatural things.
I heard that Houston Twister.
I heard about a Houston blues musician named Houston Twister.
He could run you off the tracks.
His music had such power that it could overwhelm you.
When he plays that Cold Cold Feeling,
When he plays that song, it can evoke a lot of emotions.
you get the shivers down your back.
It's so good that you physically experience it.
Well, I'm going back to Dallas.
I'm heading back to Dallas.
Won't go waitin' for no bus.
I won't wait for the bus.
Ridin' off into the sunset.
I'm leaving town.
You won't see my heels for dust.
I'm leaving fast, and you won't be able to catch up.
And I just can't lose with the Texas blues.
I will always love and succeed with Texas blues music.
The Texas blues.
I love Texas blues music.
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: GARY MOORE, LOU REED
Lyrics Licensed & Provided by LyricFind
Graham Hunt
Gary was so talented blues, rock even jazz with ColesiumII he was able to play it all consumately. I miss not going to see him live like I did so many times over the years. Genius is an oft used word for me he is one of those that truly deserve that accolade.
namasterick
Just plain hypnotic. Could NOT stop watching.Effortless perfection. Could watch this daily. Whoever was in the audience got the concert of a lifetime!
Stefan Schomburg
Pure madness! I love Gary Moore and I miss him so much!
Lee Berry
Every time I watch videos of Gary Moore playing, all I can think is, how does he do it? Such a phenomenal guitarist.
TheBluesJammer
This guy was amazing...so much more than just another guitar player. As well as being one on the top 10 guitarists in the world he was a great entertainer. His backup blues band was always brilliant too!
Adam Varney
Top three for me and actually my favourite of all time. To satisfy curiosity the other two are Clapton and Page.
Cathy Wilde
He could play any style, better than anyone!
Shred Flints Tone
I agree with all of that and Iknow what you mean but he was even better than top 10. If Gary started to put the mustard on it the other 9 would not want to stand next to him for long under the lights.
Tor Strasburg
Talk about immense confidence. This piece is brilliant. After mentioning Billy and Stevie, he displays some of their riffs and style, but even bigger and better (like everything in Texas). “I’m not from Texas or even the USA; I’m from Northern Ireland.” And then, like the biggest, baddest Texas gunslinger of all, proceeds to demolish any body in the field. The notes are huge, overpowering. Billy wouldn’t even be able to stand on a stage with him, and although it would be marvelous to see and perhaps a close duel, I can’t shake the feeling that Gary would have the upper hand.
Jay Gooch
I agree. Gary was just a monster