One of Gary’s fieri­est tracks tabbed, with au­dio and full back­ing track!

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Like so many of his gen­er­a­tion that grew up in the 60s, Gary was heav­ily in­flu­enced by the likes of Elvis, Clap­ton and Hen­drix. Peter Green re­mained one of his most en­dur­ing loves how­ever, with the great man even be­com­ing his men­tor while in Dublin (Gary also cov­ered his ma­te­rial in 1995’s Blues For Greeny). Af­ter open­ing a show for Fleet­wood Mac, Green (the band’s orig­i­nal founder) per­son­ally re­quested their man­ager help se­cure Gary’s band Skid Row a record­ing con­tract with CBS.

Af­ter cut­ting three al­bums and sup­port­ing the likes of The All­man Broth­ers Band and Moun­tain on tour, he briefly ex­plored a solo ca­reer be­fore be­com­ing the re­place­ment for Eric Bell in Thin Lizzy. This was short-lived how­ever, and Moore set about a busy pe­riod of stu­dio work, be­fore join­ing up with a prog rock, fu­sion out­fit, Colos­seum II (where again he ap­peared only fleet­ingly). In 1978, he

This is my ver­sion of the blues. What­ever peo­ple think of it is an­other story, but that’s my in­ter­pre­ta­tion. Gary Moore

is­sued his sec­ond solo re­lease, Back On The Streets, which spawned a sur­prise UK Top 10 hit with Parisi­enne Walk­ways and a lovely slow blues ver­sion of Don’t Be­lieve A Word.

This mod­ern-day clas­sic al­bum fea­tured vo­cal con­tri­bu­tions by Lynott, as well as hint­ing at the sear­ing blues style that was fully re­alised with 1990’s Still Got The Blues.

Gary joined Lizzy once more in 1979 on one of their best al­bums, Black Rose, which proved to be a huge hit in the UK. Gary ul­ti­mately ex­ited the group once more as a rift had de­vel­oped between him­self and Lynott.

Dur­ing the early 80s, Gary con­cen­trated on his solo ca­reer, re­leas­ing such heavy-metal clas­sics as Cor­ri­dors Of Power (1982), Vic­tims Of The Future (1983), Dirty Fingers (1984), Run For Cover (1985), Wild Fron­tier (1986) and Af­ter The War (1989), es­tab­lish­ing a huge fol­low­ing in Europe. It wasn’t un­til the afore­men­tioned Still Got The Blues that Gary fi­nally came full cir­cle and re­ally em­braced his blues roots. Ably sup­ported by the likes of Ge­orge Har­ri­son, Al­bert King and Al­bert Collins, the al­bum was a huge suc­cess, par­tic­u­larly with the ti­tle track.

Gary ex­plored th­ese roots even fur­ther with the fol­low up, Af­ter Hours (1992), which con­tains this month’s track. Over­all, it’s a more pol­ished af­fair, re­plete with shiny horn stabs and Ham­mond or­gan, but it’s still got Gary’s trade­mark ag­gres­sion and needle­sharp phras­ing all over it. Nods to­wards his ear­lier rock ma­te­rial take the form of pinched har­mon­ics, palm-mutes and a rau­cous high-gain sound, but it’s rooted in many of the best blues clichés that en­com­pass the style of play­ers from SRV and BB King to Hen­drix, Green and be­yond, all de­liv­ered with Gary’s unique in­ten­sity and flair.

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