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.
The Hurt Inside
Gary Moore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
to free your better self.
But did you think for one moment
you could be someone else?
Between a rock and a hard place,
is where you seem to be.
You've been caught in a trap
between the devil and the deep blue sea.
all the tears that you cry.
You can't hide
from the hurt inside.
(the hurt inside).
You're in a situation,
pray this time it will pass.
But it feels like you're walkin'
over miles and miles of broken glass.
Painted into a corner
where the sun never shines.
Somebody's turned on the spotlight,
you forgot to learn your lines.
In the place you once called your heart
there's a wound that's open wide.
You can't hide
from the hurt inside.
(the hurt inside).
When you're thinking 'bout the hard times
everyone's been through.
But it won't make no difference,
seeing things the way you do.
In this blue condition
you must search for the light.
Don't believe them when they tell you,
you can't hold back the night.
Between a rock and a hard place,
is where you'll always be.
Caught in a trap
between the devil and the deep blue sea.
So many words unspoken.
So many times you never tried.
You can't hide
from the hurt inside.
(the hurt inside).
No, you can't hide
from the hurt inside.
(the hurt inside).
There's one thing you can't hide,
it's the hurt inside.
(the hurt inside).
The lyrics of Gary Moore's "The Hurt Inside" explore an internal struggle that arises when someone faces difficulty and must confront their reality. The song speaks to a person who feels trapped between undesirable situations, stuck between "a rock and a hard place." They might attempt to change their behavior or environment and "wrestle with their conscience" to "free their better self." However, Moore questions whether this is enough to change who they are: "But did you think for one moment you could be someone else?" The person in the song has gone through hard times before and expects more hardship, as they "pray this time it will pass" but feel as if they are "walkin' over miles and miles of broken glass."
The chorus repeats the phrase "You can't hide from the hurt inside" and reinforces the concept of internal turmoil. The person in the song cannot ignore their grief, even if they try to move past it or distract themselves. The lyrics acknowledge that they have tried and failed to express themselves or take actions, as there are "so many words unspoken" and "so many times you never tried."
Ultimately, the message of "The Hurt Inside" is that individuals must find a way to confront their pain and move forward without denying their experiences. The repetition of the chorus phrase emphasizes the importance of facing one's emotions and healing from within, rather than pretending that everything is okay.
Line by Line Meaning
You wrestle with your conscience
You struggle with the inner conflict of wanting to do what's right.
to free your better self.
You want to improve yourself and let go of negative traits.
But did you think for one moment
Did you ever consider
you could be someone else?
that changing who you are is possible?
Between a rock and a hard place,
You are stuck in a difficult situation
is where you seem to be.
And it appears that you can't get out of it.
You've been caught in a trap
You are trapped
between the devil and the deep blue sea.
With two terrible choices to pick from
All those nights so lonely,
The countless lonely nights
all the tears that you cry.
And all the tears you've shed.
You can't hide
There's no way to conceal
from the hurt inside.
The emotional pain inside of you
You're in a situation,
You find yourself in a predicament
pray this time it will pass.
Hoping that this tough situation will fade away.
But it feels like you're walkin'
But it seems like you're walking
over miles and miles of broken glass.
On a path full of obstacles and pain.
Painted into a corner
Trapped in a tight space
where the sun never shines.
In a place surrounded by darkness
Somebody's turned on the spotlight,
Someone is shining a light on you
you forgot to learn your lines.
You weren't prepared for this situation
In the place you once called your heart
In your heart, where you once felt at home
there's a wound that's open wide.
There's an emotional injury that's still fresh.
When you're thinking 'bout the hard times
When you're reflecting on difficult moments
everyone's been through.
That everyone has experienced.
But it won't make no difference,
But it won't change anything
seeing things the way you do.
If you continue to see things from your perspective.
In this blue condition
In this state of sadness
you must search for the light.
You must look for hope.
Don't believe them when they tell you,
Don't believe those who say
you can't hold back the night.
That you cannot overcome the darkness.
So many words unspoken.
So much left unsaid.
So many times you never tried.
So many times you didn't attempt to make things better.
No, you can't hide
No, you cannot conceal
from the hurt inside.
The emotional pain inside of you
There's one thing you can't hide,
There is one thing you can't keep to yourself
it's the hurt inside.
The emotional pain inside of you.
Lyrics © BMG Rights Management
Written by: GARY (GB MOORE
Lyrics Licensed & Provided by LyricFind