GARY MOORE Parisi­enne Walk­ways

Com­bin­ing the orig­i­nal clas­sic with a de­fin­i­tive live per­for­mance, Richard Bar­rett talks and plays you through some vintage Gary Moore – with a spe­cially recorded, ex­tended back­ing track.

Guitar Techniques - - CONTENTS - Pro­ducer Chris Tsan­garides

Richard Bar­rett tran­scribes 1979’s sur­prise hit. Full of dy­nam­ics, this is the per­fect pair­ing be­tween rock and blues and Richard has added a three-minute live outro to the orig­i­nal track.

Though de­servedly re­mem­bered by many for his ex­cel­lent rock and blues record­ings, Gary Moore ac­tu­ally had a very wide taste in mu­sic and ex­per­i­mented in a va­ri­ety of gen­res. Parisi­enne Walk­ways was recorded dur­ing the 1978 ses­sions for Gary’s Back On The Streets al­bum and fea­tures Thin Lizzy’s of­ten un­der­rated drum­mer Brian Downey, plus Phil Lynott him­self on vo­cals and up­right bass. It cap­tures Gary’s play­ing at a piv­otal stage, mak­ing the tran­si­tion from the jazz-rock style of the Colos­seum II al­bums a cou­ple of years ear­lier, to his even­tual re­union with Thin Lizzy for the Black Rose al­bum in 1979.

Of course, there was never any short­age of fire in Gary’s play­ing what­ever the genre, and he sounded just as at home on his 61 Strat (check out his per­for­mance of Red House from the 2005 Strat Pack movie!) as he did on his fa­mous ex-Peter Green ’59 Les Paul. It is this guitar that fea­tures on both the orig­i­nal record­ing and our fea­tured live ver­sion.

The orig­i­nal clocks in at just over three min­utes – fairly long for a sin­gle (it reached num­ber 8 in the UK) but a lit­tle short for those want­ing to hear Gary stretch out and do what he was best at. In his live per­for­mances, Gary would con­tinue the outro sec­tion for another three min­utes or so – plus, of course, the in­fa­mous sus­tained note be­fore the last re­peat of the main melody. To recre­ate this, you’ll need to be turned up fairly loud and stand­ing in ex­actly the right po­si­tion in re­la­tion to your am­pli­fier and speaker – more on this later. To get the best of both worlds, our GT ver­sion goes with the orig­i­nal track right up where the fade be­gins (3:03, or bar 45 on the tran­scrip­tion), then con­tin­ues as Gary would have done live.

The live per­for­mance we have cho­sen as the ba­sis for this is taken from Gary’s inspired encore at Read­ing Rock on Au­gust 28th 1982, fea­tur­ing the su­perb line-up of Ian Paice on drums and Neil Mur­ray on bass. Tommy Eyre pro­vided some nice chord vari­a­tions on keys too, all of which we have em­u­lated to the best of our abil­ity on the ex­tended back­ing track – which should pro­vide plenty of fun!

Though stu­dio and live per­for­mance are very dif­fer­ent worlds, Gary’s elo­quent phras­ing and con­trol re­main con­sis­tent. He uses a lit­tle more gain (and prob­a­bly vol­ume) on the live ver­sions, so there is more han­dling noise and feed­back ev­i­dent, partly due to the un-pot­ted PAF pick­ups in his ’59 Les Paul. Gary would keep this un­der con­trol by rolling the guitar’s vol­ume down quickly be­tween phrases, or al­low­ing other un­used strings to sound briefly (check bar 53 of the tran­scrip­tion for an ex­am­ple of this).

As well as avoid­ing mi­cro­phonic squeal­ing, this gives an ex­cit­ing dy­namic ‘cranked to the max’ feel. It’s eas­ier to un­der­stand this con­cept when you’ve seen it in ac­tion. Be sure to check out a few of Gary’s live per­for­mances and you’ll see how he in­stinc­tively reaches down to zero the guitar’s vol­ume con­trol to keep things quiet. You don’t need to be play­ing loud to use this tech­nique and it will help give your play­ing that ur­gent, in-your­face feel. So give it a go!

The solo you hear on The record Was caP­Tured in one Take. There’s a dou­ble Track and a har­Mony. un­be­liev­able!

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