Gary Moore COLD DAY IN HELL
One of Gary’s fieriest tracks tabbed, with audio and full backing track!
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.