Biography by Greg Prato
One of rock's more underrated guitarists, Gary Moore's eclectic career traversed blues, heavy metal, progressive rock, and jazz fusion and, in addition to finding success as a solo act, he was associated with numerous different bands, most notably Thin Lizzy. A native of Belfast, Moore came up in the same Northern Irish scene as Phil Lynott and he served as Thin Lizzy's guitarist several times during the band's original run in the 1970s and early '80s. As a solo artist, he scored a surprise hit with 1978's bluesy "Parisienne Walkways" before transitioning into heavy metal and hard rock throughout the '80s. Moore's success never translated to the U.S., though he earned a significant fan base, particularly in Europe. Tiring of the commercial demands of hard rock, he reconnected with his blues roots on the 1990 standout Still Got the Blues. Taking influence from early heroes like Peter Green (Moore's primary guitar was sold to him by Green) and Eric Clapton, it became his most successful solo release, and although he continued to experiment with other genres, Moore remained largely in blues mode for the duration of his career. His output in the 21st century was surprisingly prodigious and included blues-heavy outings like 2001's Back to the Blues, 2007's Close as You Get, and 2008's Bad for You Baby, his last studio outing prior to his unexpected death in early 2011.
Born on April 4, 1952, in Belfast, Moore became interested in guitar during the '60s upon discovering such blues-rock masters as Eric Clapton, Jimi Hendrix, and perhaps his biggest influence of all, Fleetwood Mac's Peter Green. After relocating to Dublin later in the decade, Moore joined a local rock group called Skid Row, which featured a young singer by the name of Phil Lynott, who would soon leave the group to double up on bass and form Thin Lizzy. Skid Row persevered, however, eventually opening a show for Moore's heroes Peter Green and Fleetwood Mac, and made such an impression on the veteran group that Green personally requested their manager help secure Skid Row a recording contract with CBS (in addition, Green sold Moore one of his most-used guitars, a maple 1959 Gibson Les Paul Standard, which would become Moore's primary instrument).
Skid Row would go on to issue several singles and albums (including 1970's Skid and 1971's 34 Hours), and although the group mounted a few tours of Europe and the U.S., they failed to obtain breakthrough commercial success, leading to Moore's exit in 1972. Moore then formed his own outfit, the Gary Moore Band (along with members drummer Pearse Kelly and bassist John Curtis), for which the guitarist also served as vocalist. But after the trio's debut album, 1973's Grinding Stone, sunk without a trace, Moore hooked up once more with ex-bandmate Lynott in Thin Lizzy. His initial tenure in Lizzy proved to be short-lived, though, as his fiery playing was featured on only a handful of tracks. Moore then set his sights on studio work (appearing on Eddie Howell's 1975 release Gramaphone Record), before joining the prog rock/fusion outfit Colosseum II. However, once more, Moore's tenure in his latest outfit was fleeting; he appeared on only three recordings (1976's Strange New Flesh, plus a pair in 1977, Electric Savage and War Dance), as Moore accepted an invitation by his old buddy Lynott to fill in for a Thin Lizzy U.S. tour, playing arenas opening for Queen.
Moore proved to be quite busy in 1978, as the guitarist appeared on three other artists' recordings: Andrew Lloyd Webber's Variations, Rod Argent's Moving Home, and Gary Boyle's Electric Glide. The same year, Moore issued his second solo release (almost five years after his solo debut), Back on the Streets, which spawned a surprise Top Ten U.K. hit in May 1979, the bluesy ballad "Parisienne Walkways," and featured vocal contributions by Lynott. Moore joined forces with his Lizzy mates once more in 1979, appearing on what is arguably the finest studio album of their career, Black Rose, which proved to be a huge hit in the U.K. (for a fine example of Moore's exceptional guitar skills, check out the album's epic title track). But predictably, Moore ultimately exited the group once more (this time right in the middle of a U.S. tour), as a rift had developed between Moore and Lynott. Undeterred, Moore lent some guitar work to drummer Cozy Powell's solo release Over the Top, in addition to forming a new outfit, G Force, who would only remain together for a lone self-titled release in 1980.
During the early '80s, Moore united with former ELP guitarist/bassist/singer Greg Lake, appearing on a pair of Lake solo releases (1981's self-titled release and 1983's Manoeuvres), in addition to guesting on another Cozy Powell solo release, Octopuss. It was also during the '80s that Moore finally got serious with his solo career -- issuing such heavy metal-based works as 1982's Corridors of Power, 1983's Victims of the Future, 1984's Dirty Fingers and the in-concert set We Want Moore!, 1985's Run for Cover, 1987's Wild Frontier, plus 1989's After the War -- establishing a large following in Europe, despite remaining virtually unknown stateside. The decade wasn't all rosy for Moore, however -- although he was able to patch up his friendship with Phil Lynott (appearing with Lizzy for several tracks on Life/Live and teaming with Lynott for a pair of tracks in 1985, "Military Man" and "Out in the Fields," the latter a U.K. hit), years of hard living finally caught up with Lynott, leading to his passing in January 1986. Moore would subsequently dedicate "Wild Frontier" to Lynott, and honored Thin Lizzy's former frontman on the track "Blood of Emeralds" (from After the War).
Fed up with the pressure to pen hit singles and tired of his metallic musical direction, Moore returned to his blues roots for 1990's Still Got the Blues, the most renowned and best-selling release of his career, as the album featured such special guests as Albert Collins, Albert King, and George Harrison. Moore continued in his newly rediscovered blues style on such subsequent releases as 1992's After Hours and 1993's Blues Alive, before forming the short-lived supergroup BBM along with Cream's former rhythm section -- bassist Jack Bruce and drummer Ginger Baker -- which lasted for a single album, 1994's Around the Next Dream. Up next for Moore was a tribute album for Peter Green, 1995's Blues for Greeny, which saw him put his own personal stamp on 11 tracks either penned or performed at some point by Green. Moore experimented with different musical styles on his next two solo releases, 1997's Dark Days in Paradise and 1999's A Different Beat, before embracing the blues once more on his first release of the 21st century, 2001's Back to the Blues.
Over the years, Gary Moore was the subject of countless compilations, the best of the bunch being 1998's metal-oriented Collection and 2002's blues-based Best of the Blues, as well as Out in the Fields: The Very Best of Gary Moore, which was split 50/50 between his metal and blues excursions. Teaming with Skunk Anansie bassist Cass Lewis and Primal Fear drummer Darrin Mooney, Moore started work on much harder and alternative-influenced rock in the spring of 2002 and released the results as Scars. The powerful Live at Monsters of Rock from 2003 proudly declared "no overdubs used," while 2004's raw Power of the Blues featured nothing but the blues, as did 2006's Old New Ballads Blues on Eagle Records, 2007's Close as You Get (which featured some drum contributions from his old Thin Lizzy friend Brian Downey), and 2008's Bad for You Baby. This turned out to be Moore's final studio album, as he unexpectedly passed away of a suspected heart attack in the early morning hours of February 6, 2011, while vacationing in Spain.
https://www.allmusic.com/artist/gary-moore-mn0000050034#biography
One of rock's more underrated guitarists, Gary Moore's eclectic career traversed blues, heavy metal, progressive rock, and jazz fusion and, in addition to finding success as a solo act, he was associated with numerous different bands, most notably Thin Lizzy. A native of Belfast, Moore came up in the same Northern Irish scene as Phil Lynott and he served as Thin Lizzy's guitarist several times during the band's original run in the 1970s and early '80s. As a solo artist, he scored a surprise hit with 1978's bluesy "Parisienne Walkways" before transitioning into heavy metal and hard rock throughout the '80s. Moore's success never translated to the U.S., though he earned a significant fan base, particularly in Europe. Tiring of the commercial demands of hard rock, he reconnected with his blues roots on the 1990 standout Still Got the Blues. Taking influence from early heroes like Peter Green (Moore's primary guitar was sold to him by Green) and Eric Clapton, it became his most successful solo release, and although he continued to experiment with other genres, Moore remained largely in blues mode for the duration of his career. His output in the 21st century was surprisingly prodigious and included blues-heavy outings like 2001's Back to the Blues, 2007's Close as You Get, and 2008's Bad for You Baby, his last studio outing prior to his unexpected death in early 2011.
Born on April 4, 1952, in Belfast, Moore became interested in guitar during the '60s upon discovering such blues-rock masters as Eric Clapton, Jimi Hendrix, and perhaps his biggest influence of all, Fleetwood Mac's Peter Green. After relocating to Dublin later in the decade, Moore joined a local rock group called Skid Row, which featured a young singer by the name of Phil Lynott, who would soon leave the group to double up on bass and form Thin Lizzy. Skid Row persevered, however, eventually opening a show for Moore's heroes Peter Green and Fleetwood Mac, and made such an impression on the veteran group that Green personally requested their manager help secure Skid Row a recording contract with CBS (in addition, Green sold Moore one of his most-used guitars, a maple 1959 Gibson Les Paul Standard, which would become Moore's primary instrument).
Skid Row would go on to issue several singles and albums (including 1970's Skid and 1971's 34 Hours), and although the group mounted a few tours of Europe and the U.S., they failed to obtain breakthrough commercial success, leading to Moore's exit in 1972. Moore then formed his own outfit, the Gary Moore Band (along with members drummer Pearse Kelly and bassist John Curtis), for which the guitarist also served as vocalist. But after the trio's debut album, 1973's Grinding Stone, sunk without a trace, Moore hooked up once more with ex-bandmate Lynott in Thin Lizzy. His initial tenure in Lizzy proved to be short-lived, though, as his fiery playing was featured on only a handful of tracks. Moore then set his sights on studio work (appearing on Eddie Howell's 1975 release Gramaphone Record), before joining the prog rock/fusion outfit Colosseum II. However, once more, Moore's tenure in his latest outfit was fleeting; he appeared on only three recordings (1976's Strange New Flesh, plus a pair in 1977, Electric Savage and War Dance), as Moore accepted an invitation by his old buddy Lynott to fill in for a Thin Lizzy U.S. tour, playing arenas opening for Queen.
Moore proved to be quite busy in 1978, as the guitarist appeared on three other artists' recordings: Andrew Lloyd Webber's Variations, Rod Argent's Moving Home, and Gary Boyle's Electric Glide. The same year, Moore issued his second solo release (almost five years after his solo debut), Back on the Streets, which spawned a surprise Top Ten U.K. hit in May 1979, the bluesy ballad "Parisienne Walkways," and featured vocal contributions by Lynott. Moore joined forces with his Lizzy mates once more in 1979, appearing on what is arguably the finest studio album of their career, Black Rose, which proved to be a huge hit in the U.K. (for a fine example of Moore's exceptional guitar skills, check out the album's epic title track). But predictably, Moore ultimately exited the group once more (this time right in the middle of a U.S. tour), as a rift had developed between Moore and Lynott. Undeterred, Moore lent some guitar work to drummer Cozy Powell's solo release Over the Top, in addition to forming a new outfit, G Force, who would only remain together for a lone self-titled release in 1980.
During the early '80s, Moore united with former ELP guitarist/bassist/singer Greg Lake, appearing on a pair of Lake solo releases (1981's self-titled release and 1983's Manoeuvres), in addition to guesting on another Cozy Powell solo release, Octopuss. It was also during the '80s that Moore finally got serious with his solo career -- issuing such heavy metal-based works as 1982's Corridors of Power, 1983's Victims of the Future, 1984's Dirty Fingers and the in-concert set We Want Moore!, 1985's Run for Cover, 1987's Wild Frontier, plus 1989's After the War -- establishing a large following in Europe, despite remaining virtually unknown stateside. The decade wasn't all rosy for Moore, however -- although he was able to patch up his friendship with Phil Lynott (appearing with Lizzy for several tracks on Life/Live and teaming with Lynott for a pair of tracks in 1985, "Military Man" and "Out in the Fields," the latter a U.K. hit), years of hard living finally caught up with Lynott, leading to his passing in January 1986. Moore would subsequently dedicate "Wild Frontier" to Lynott, and honored Thin Lizzy's former frontman on the track "Blood of Emeralds" (from After the War).
Fed up with the pressure to pen hit singles and tired of his metallic musical direction, Moore returned to his blues roots for 1990's Still Got the Blues, the most renowned and best-selling release of his career, as the album featured such special guests as Albert Collins, Albert King, and George Harrison. Moore continued in his newly rediscovered blues style on such subsequent releases as 1992's After Hours and 1993's Blues Alive, before forming the short-lived supergroup BBM along with Cream's former rhythm section -- bassist Jack Bruce and drummer Ginger Baker -- which lasted for a single album, 1994's Around the Next Dream. Up next for Moore was a tribute album for Peter Green, 1995's Blues for Greeny, which saw him put his own personal stamp on 11 tracks either penned or performed at some point by Green. Moore experimented with different musical styles on his next two solo releases, 1997's Dark Days in Paradise and 1999's A Different Beat, before embracing the blues once more on his first release of the 21st century, 2001's Back to the Blues.
Over the years, Gary Moore was the subject of countless compilations, the best of the bunch being 1998's metal-oriented Collection and 2002's blues-based Best of the Blues, as well as Out in the Fields: The Very Best of Gary Moore, which was split 50/50 between his metal and blues excursions. Teaming with Skunk Anansie bassist Cass Lewis and Primal Fear drummer Darrin Mooney, Moore started work on much harder and alternative-influenced rock in the spring of 2002 and released the results as Scars. The powerful Live at Monsters of Rock from 2003 proudly declared "no overdubs used," while 2004's raw Power of the Blues featured nothing but the blues, as did 2006's Old New Ballads Blues on Eagle Records, 2007's Close as You Get (which featured some drum contributions from his old Thin Lizzy friend Brian Downey), and 2008's Bad for You Baby. This turned out to be Moore's final studio album, as he unexpectedly passed away of a suspected heart attack in the early morning hours of February 6, 2011, while vacationing in Spain.
https://www.allmusic.com/artist/gary-moore-mn0000050034#biography
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Biografía de Greg Prato
Uno de los guitarristas más subestimados del rock, la ecléctica carrera de Gary Moore atravesó el blues, el heavy metal, el rock progresivo y el jazz fusión y, además de encontrar el éxito como solista, estuvo asociado con numerosas bandas diferentes, entre las que destaca Thin Lizzy. Originario de Belfast, Moore surgió en la misma escena de Irlanda del Norte que Phil Lynott y sirvió como guitarrista de Thin Lizzy varias veces durante la carrera original de la banda en los años 1970 y principios de los 80. Como solista, obtuvo un éxito sorpresa con el blues "Parisienne Walkways" de 1978 antes de hacer la transición al heavy metal y al hard rock a lo largo de los años 80. El éxito de Moore nunca se trasladó a Estados Unidos, aunque se ganó una importante base de seguidores, particularmente en Europa. Cansado de las exigencias comerciales del hard rock, se reconectó con sus raíces del blues en el destacado de 1990 Still Got the Blues. Tomando la influencia de los primeros héroes como Peter Green (Green le vendió la guitarra principal de Moore) y Eric Clapton, se convirtió en su lanzamiento en solitario de mayor éxito y, aunque continuó experimentando con otros géneros, Moore permaneció en gran medida en el modo blues durante todo el proceso. de su carrera. Su producción en el siglo XXI fue sorprendentemente prodigiosa e incluyó lanzamientos con mucho blues como Back to the Blues de 2001, Close as You Get de 2007 y Bad for You Baby de 2008, su último lanzamiento de estudio antes de su inesperada muerte a principios de 2011.
Nacido el 4 de abril de 1952 en Belfast, Moore se interesó por la guitarra durante los años 60 al descubrir maestros del blues-rock como Eric Clapton, Jimi Hendrix y quizás su mayor influencia de todas, Peter Green de Fleetwood Mac. Después de mudarse a Dublín a finales de la década, Moore se unió a un grupo de rock local llamado Skid Row, que contaba con un joven cantante llamado Phil Lynott, quien pronto dejaría el grupo para doblar el bajo y formar Thin Lizzy. Sin embargo, Skid Row perseveró y finalmente abrió un espectáculo para los héroes de Moore, Peter Green y Fleetwood Mac, y causó tal impresión en el veterano grupo que Green pidió personalmente a su manager que le ayudara a conseguirle a Skid Row un contrato de grabación con CBS (además, Green vendió a Moore una de sus guitarras más utilizadas, una Gibson Les Paul Standard de arce de 1959, que se convertiría en el instrumento principal de Moore).
Skid Row publicaría varios sencillos y álbumes (incluidos Skid de 1970 y 34 Hours de 1971), y aunque el grupo realizó algunas giras por Europa y Estados Unidos, no lograron obtener un gran éxito comercial, lo que llevó a la salida de Moore en 1972. Luego, Moore formó su propio grupo, Gary Moore Band (junto con los miembros, el baterista Pearse Kelly y el bajista John Curtis), para el cual el guitarrista también se desempeñó como vocalista. Pero después de que el álbum debut del trío, Grinder Stone de 1973, se hundiera sin dejar rastro, Moore se reunió una vez más con su ex compañero de banda Lynott en Thin Lizzy. Sin embargo, su permanencia inicial en Lizzy resultó ser de corta duración, ya que su ardiente forma de tocar apareció solo en un puñado de temas. Luego, Moore se centró en el trabajo de estudio (apareció en el lanzamiento de Gramaphone Record de Eddie Howell en 1975), antes de unirse al grupo de rock progresivo y fusión Colosseum II. Sin embargo, una vez más, la permanencia de Moore en su último equipo fue fugaz; apareció en sólo tres grabaciones (Strange New Flesh de 1976, más un par en 1977, Electric Savage y War Dance), cuando Moore aceptó una invitación de su viejo amigo Lynott para reemplazar a Thin Lizzy en la gira por Estados Unidos, tocando en estadios como telonero de Queen..
Moore demostró estar bastante ocupado en 1978, ya que el guitarrista apareció en las grabaciones de otros tres artistas: Variations de Andrew Lloyd Webber, Moving Home de Rod Argent y Electric Glide de Gary Boyle. El mismo año, Moore publicó su segundo lanzamiento en solitario (casi cinco años después de su debut en solitario), Back on the Streets, que generó un éxito sorpresa en el Top Ten del Reino Unido en mayo de 1979, la balada de blues "Parisienne Walkways", y contó con contribuciones vocales de Lynott. Moore unió fuerzas con sus compañeros de Lizzy una vez más en 1979, apareciendo en lo que es posiblemente el mejor álbum de estudio de su carrera, Black Rose, que resultó ser un gran éxito en el Reino Unido (para ver un excelente ejemplo de las excepcionales habilidades de guitarra de Moore, consulte la épica canción que da título al álbum). Pero, como era de esperar, Moore finalmente abandonó el grupo una vez más (esta vez justo en medio de una gira por Estados Unidos), ya que se había desarrollado una ruptura entre Moore y Lynott. Sin inmutarse, Moore prestó algo de trabajo de guitarra para el lanzamiento en solitario del baterista Cozy Powell, Over the Top, además de formar un nuevo grupo, G Force, que solo permanecerían juntos durante un único lanzamiento homónimo en 1980.
A principios de los 80, Moore se unió al ex guitarrista, bajista y cantante de ELP, Greg Lake, apareciendo en un par de lanzamientos en solitario de Lake (el lanzamiento homónimo de 1981 y Manoeuvres de 1983), además de ser invitado en otro lanzamiento en solitario de Cozy Powell, Octopuss. . También fue durante los años 80 cuando Moore finalmente tomó en serio su carrera en solitario, publicando trabajos basados en heavy metal como Corridors of Power de 1982, Victims of the Future de 1983, Dirty Fingers de 1984 y We Want Moore! , Run for Cover de 1985, Wild Frontier de 1987 y After the War de 1989, que establecieron un gran número de seguidores en Europa, a pesar de seguir siendo prácticamente desconocidos en Estados Unidos. Sin embargo, la década no fue del todo color de rosa para Moore, aunque pudo remendar su amistad con Phil Lynott (apareciendo con Lizzy en varios temas de Life/Live y haciendo equipo con Lynott en un par de temas en 1985, "Military Man" y "Out in the Fields", este último un éxito en el Reino Unido), años de dura vida finalmente alcanzaron a Lynott, lo que llevó a su fallecimiento en enero de 1986. Posteriormente, Moore dedicaría "Wild Frontier" a Lynott y honraría a Thin Lizzy. ex líder del tema "Blood of Emeralds" (de After the War).
Harto de la presión de escribir sencillos exitosos y cansado de su dirección musical metálica, Moore regresó a sus raíces de blues en Still Got the Blues de 1990, el lanzamiento más famoso y más vendido de su carrera, ya que el álbum contó con invitados especiales como Albert Collins, Albert King y George Harrison. Moore continuó con su recién redescubierto estilo de blues en lanzamientos posteriores como After Hours de 1992 y Blues Alive de 1993, antes de formar el efímero supergrupo BBM junto con la antigua sección rítmica de Cream (el bajista Jack Bruce y el baterista Ginger Baker), que duró un álbum sencillo, Around the Next Dream de 1994. Lo siguiente para Moore fue un álbum tributo a Peter Green, Blues for Greeny de 1995, en el que puso su sello personal en 11 temas escritos o interpretados en algún momento por Green. Moore experimentó con diferentes estilos musicales en sus dos siguientes lanzamientos en solitario, Dark Days in Paradise de 1997 y A Different Beat de 1999, antes de abrazar el blues una vez más en su primer lanzamiento del siglo XXI, Back to the Blues de 2001.
A lo largo de los años, Gary Moore fue objeto de innumerables compilaciones, siendo las mejores Collection de 1998, orientada al metal, y Best of the Blues, de 2002, basada en blues, así como Out in the Fields: The Very Best of Gary Moore, que se dividió 50/50 entre sus excursiones de metal y blues. En equipo con el bajista de Skunk Anansie, Cass Lewis, y el baterista de Primal Fear, Darrin Mooney, Moore comenzó a trabajar en un rock mucho más duro y de influencia alternativa en la primavera de 2002 y lanzó los resultados como Scars. El poderoso Live at Monsters of Rock de 2003 declaró con orgullo "no se utilizaron sobregrabaciones", mientras que el crudo Power of the Blues de 2004 no incluía nada más que blues, al igual que Old New Ballads Blues de 2006 en Eagle Records, Close as You Get de 2007 (que incluía algunos contribuciones de batería de su viejo amigo de Thin Lizzy, Brian Downey), y Bad for You Baby de 2008. Este resultó ser el último álbum de estudio de Moore, ya que falleció inesperadamente de un presunto ataque cardíaco en las primeras horas de la mañana del 6 de febrero de 2011, mientras estaba de vacaciones en España.
https://www.allmusic.com/artist/gary-moore-mn0000050034#biography
A principios de los 80, Moore se unió al ex guitarrista, bajista y cantante de ELP, Greg Lake, apareciendo en un par de lanzamientos en solitario de Lake (el lanzamiento homónimo de 1981 y Manoeuvres de 1983), además de ser invitado en otro lanzamiento en solitario de Cozy Powell, Octopuss. . También fue durante los años 80 cuando Moore finalmente tomó en serio su carrera en solitario, publicando trabajos basados en heavy metal como Corridors of Power de 1982, Victims of the Future de 1983, Dirty Fingers de 1984 y We Want Moore! , Run for Cover de 1985, Wild Frontier de 1987 y After the War de 1989, que establecieron un gran número de seguidores en Europa, a pesar de seguir siendo prácticamente desconocidos en Estados Unidos. Sin embargo, la década no fue del todo color de rosa para Moore, aunque pudo remendar su amistad con Phil Lynott (apareciendo con Lizzy en varios temas de Life/Live y haciendo equipo con Lynott en un par de temas en 1985, "Military Man" y "Out in the Fields", este último un éxito en el Reino Unido), años de dura vida finalmente alcanzaron a Lynott, lo que llevó a su fallecimiento en enero de 1986. Posteriormente, Moore dedicaría "Wild Frontier" a Lynott y honraría a Thin Lizzy. ex líder del tema "Blood of Emeralds" (de After the War).
Harto de la presión de escribir sencillos exitosos y cansado de su dirección musical metálica, Moore regresó a sus raíces de blues en Still Got the Blues de 1990, el lanzamiento más famoso y más vendido de su carrera, ya que el álbum contó con invitados especiales como Albert Collins, Albert King y George Harrison. Moore continuó con su recién redescubierto estilo de blues en lanzamientos posteriores como After Hours de 1992 y Blues Alive de 1993, antes de formar el efímero supergrupo BBM junto con la antigua sección rítmica de Cream (el bajista Jack Bruce y el baterista Ginger Baker), que duró un álbum sencillo, Around the Next Dream de 1994. Lo siguiente para Moore fue un álbum tributo a Peter Green, Blues for Greeny de 1995, en el que puso su sello personal en 11 temas escritos o interpretados en algún momento por Green. Moore experimentó con diferentes estilos musicales en sus dos siguientes lanzamientos en solitario, Dark Days in Paradise de 1997 y A Different Beat de 1999, antes de abrazar el blues una vez más en su primer lanzamiento del siglo XXI, Back to the Blues de 2001.
A lo largo de los años, Gary Moore fue objeto de innumerables compilaciones, siendo las mejores Collection de 1998, orientada al metal, y Best of the Blues, de 2002, basada en blues, así como Out in the Fields: The Very Best of Gary Moore, que se dividió 50/50 entre sus excursiones de metal y blues. En equipo con el bajista de Skunk Anansie, Cass Lewis, y el baterista de Primal Fear, Darrin Mooney, Moore comenzó a trabajar en un rock mucho más duro y de influencia alternativa en la primavera de 2002 y lanzó los resultados como Scars. El poderoso Live at Monsters of Rock de 2003 declaró con orgullo "no se utilizaron sobregrabaciones", mientras que el crudo Power of the Blues de 2004 no incluía nada más que blues, al igual que Old New Ballads Blues de 2006 en Eagle Records, Close as You Get de 2007 (que incluía algunos contribuciones de batería de su viejo amigo de Thin Lizzy, Brian Downey), y Bad for You Baby de 2008. Este resultó ser el último álbum de estudio de Moore, ya que falleció inesperadamente de un presunto ataque cardíaco en las primeras horas de la mañana del 6 de febrero de 2011, mientras estaba de vacaciones en España.
https://www.allmusic.com/artist/gary-moore-mn0000050034#biography
1 - Always Gonna Love You - 3:54
2 - Still Got The Blues - 4:10
3 - Empty Rooms - 4:15
4 - Parisienne Walkways - 6:47
5 - One Day - 4:00
6 - Separate Ways - 4:54
7 - Story Of The Blues - 6:39
8 - Crying In The Shadows - 5:00
9 - With Love (Remember) - 7:05
10 - Midnight Blues - 4:58
11 - Falling In Love With You - 4:05
12 - Jumpin' At Shadows - 4:21
13 - Blues For Narada - 7:40
14 - Johnny Boy - 3:11
Label: Virgin – 7243 8 40054 2 9, Virgin – CDV 2768
Released: 1994
Genre: Rock
Style: Blues Rock, Soft Rock
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