201?/未定:[ドキュメント映画] White Knuckles And Blue Moods
201?/未定:[DVD?] Complete Thin Lizzy Sydney 1978 Film
201?/未定:[CD] The new studio album(EAGCD422)
201?/未定:[CD,DVD] Wild Frontier Tour 1987
2014/12/17:[DVD] ライヴインジャーマニー1993 / ジャックブルース
2014/05/21:[CD] キードアップ / ドンエイリー
[Gary Moore's Discography] [ギター用カラオケ] [紙ジャケCD] [動画]
[ゲイリームーア使用ギター] [Peter Green's Discography]
[Michael Schenker's Discography]
- [News] Phoenix / Jack Moore (04/22)
- Ready For Love (12 Remix) 1989 (04/18)
- [PV] Too Tired (04/14)
- 1979/01/09: Old Grey Whistle Test Studio Live (04/11)
- Fender Custom Shop Limited Edition Stratocaster (04/08)
- Happy 65th Birthday, GARY MOORE!!! (04/04)
- [YouTube] GARY MOORE DETROIT MI 1987 (03/26)
- 1974/02/10:[YouTube] Thin Lizzy (03/24)
- R.I.P. Chuck Berry... (03/20)
- Brian May + Kerry Ellis / Golden Days (03/08)
2016/02/29 Mon. 19:44:21 edit
Vintage Guitar Magazine
Current Issue - April '16
The VG Readers’ Choice Awards
Our annual induction of legends, as chosen by readers. We welcome David Gilmour, Gary Moore, George Beauchamp, and the Fender Champ to the VG Hall of Fame, and also recognize Artist of the Year, Album of the Year, as well as Player of the Year in four categories.
2015 HOF Player
David Gilmour 32.2%
Gary Moore 20.7%
Michael Bloomfield 17.6%
Rory Gallagher 17.6%
2015 HOF Player
In his May ’04 “Fretprints” study, VG contributor Wolf Marshall dubbed Gary Moore an “unsung hero,” citing his virtuosity, diversity, and an uncompromising body of work.
Critics would argue (and fans insist) that Moore was (and is) truly underappreciated; while the names of contemporaries like Van Halen, Young, and Blackmore are part of rock-guitar lexicon, Moore’s name typically requires a deeper dig. Fully capable in the areas of blues-rock, power pop, heavy metal, and even jazz-rock fusion, he built a reputation on two strong solo albums, Grinding Stone and Back on the Streets, and a stint in fellow Irishman Phil Lynott’s band, Thin Lizzy, where his playing and writing were a highlight of the 1979 album, Black Rose.
Marshall cited Moore’s blues base and rock feel, but said he was separated from the pack in his ability to “season his improvisations with exotic note choices, fluid, technically adept passagework, a variety of textures, and unusual melodic patterns.” While Moore was in his element as a flashy lead player – Marshall cited his “myriad pinch harmonics, relentless cascades of pull-off and hammer-on licks [along with] long, complex modal runs often spanning two octaves, palm-muted flurries, tremolo-picked sequences, ostinato figures, and mutated high-velocity blues licks” – he also noted that Moore was a powerful, supportive rhythm player.
Moore “met” music thanks to his father, a concert promoter in Belfast who organized events at a local ballroom. As a child, he took in many performances there, then began teaching himself guitar after hearing Hank Marvin, the Beatles, Jeff Beck in the Yardbirds, Eric Clapton, and Peter Green.
In the early ’70s, Moore’s band, Skid Row, opened a show for Frank Zappa at the Fillmore West in San Francisco; Zappa’s playing introduced the young rocker to jazzier styles that he immediately began to adapt. He would be similarly influenced by Chick Corea and Ollie Halsall. When he began to focus on blues, he reported taking to heed advice from blues master Albert King when they worked together on Still Got The Blues. In a 2008 interview with VG, Moore related to Lisa Sharken how King told him, “Gary, play every other lick.” The profound advice shaped Moore’s style, and taught him not only to leave that space, but focus on tone and expressiveness.
Coinciding with his stylistic shifts, Moore pursued tones through a variety of guitars and amps, including a Shell Pink ’60 Strat in his early solo work, followed by the ’59 Les Paul Standard he borrowed from Peter Green in 1970; they soon after agreed to $300 in exchange, and it served as Moore’s go-to guitar for the next 25 years, appearing famously on trademark tracks like 1979’s “Parisienne Walkways” and his 1990 hit “Still Got the Blues” which is on a short list of tunes cited as the ultimate example of Les-Paul-through-Marshall tone.
Other instruments included various custom Charvel, Hamer, and Ibanez models in the mid ’80s, then various vintage Gibsons, including a ’55 Les Paul Junior, an Explorer, Flying V, a ’55 ES-5, a ES-345, and a Melody Maker.
With Skid Row and for his ’70s solo work, Moore plugged into Hi-Watt amplifiers. With Thin Lizzy, it was two 100-watt Marshall stacks and half-stacks, then in the ’80s, he developed a preference for Soldano SLO-100 heads.
In 2008, critics lauded Bad For You Baby as his finest album in years. He died February 6, 2011, at the age of 58.
“Gary combined feeling, technique, intelligence, control, and tone quality,” said Marshall. “He was an important transitional guitarist in the crucial years of the ’70s, when ’60s rock evolved and codified. He could shred with the best of them – Uli Roth, Michael Schenker, Ritchie Blackmore, Van Halen, or Yngwie – and come off as ultra-musical while reigniting the Blues-Breaker-inspired blues form and setting in motion the most significant modern blues reinterpretations since SRV. He was an absolute original and is sorely missed.”
2016/02/23 Tue. 00:05:44 edit
2016/02/20 Sat. 19:20:02 edit
日本 - ユニバーサルミュージック - UICY-77618(CD) - 2016/1/20 - 2880円
1.バック・オン・ザ・ストリーツ BACK ON THE STREETS
2.ドント・ビリーヴ・ア・ワード DON’T BELIEVE A WORD
3.狂信的なファシスト FANATICAL FASCISTS
4.スニー・ムースの飛行 FLIGHT OF THE SNOW MOOSE
6.ドナの歌 SONG FOR DONNA
7.皮肉な奴になりたいのか WHAT WOULD YOU RATHER BEE OR A WASP
8.パリの散歩道 PARISIENNE WALKWAYS