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r246c's room for GARY MOORE.

Gary Moore(ゲイリームーア)の大ファンです。

お知らせ

中途半端な状態ではありますが、掲載しました記事にコメント等ありましたら、お気兼ねなく書き込み下さい。また、記載した情報に間違え等ある場合がありますので、購入等の際はご自分でご確認の上、自己責任でお願い致します。記載ミス等ご指摘頂ければ幸いです。それでは、宜しくお願い致します(^^)/ r246c. (Since 2011/3/1)

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2016/04:[本] Vintage Guitar Magazine

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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.

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2015 HOF Player
David Gilmour 32.2%
Gary Moore 20.7%
Michael Bloomfield 17.6%
Rory Gallagher 17.6%


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Gary Moore
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.”
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2016/02/23:[Radio] ロマンチックコンサート

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NHKラジオ第一
2016/02/23_02:05-02:??
ロマンチックコンサート/宮川泰夫

午前2時台
〔ロマンチックコンサート〕曲目リスト
ロック・クラシック ゲイリー・ムーア

アルバム「スティル・ガット・ザ・ブルース」から
▼ムーヴィング・オン
▼キング・オブ・ザ・ブルース ほか
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2016/01/20:[CD] Back On The Streets / Gary Moore

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バック・オン・ザ・ストリーツ
/ ゲイリー・ムーア


日本 - ユニバーサルミュージック - UICY-77618(CD) - 2016/1/20 - 2880円

■初回生産限定盤
■最新リマスター音源
■UKオリジナルLP盤ジャケット 復刻
■日本盤LP帯 復刻
■伊藤政則氏による一部最新ライナー付
■歌詞対訳付
SHM-CD

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
5.ハリケーン HURRICANE
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

スキッド・ロウ、シン・リジィ、コロシアムなどでの活動で知られるアイルランドが生んだ“魂のギタリスト”の初のソロ名義作品。フィル・ライノット、サイモン・フィリップスらに支えられ、彼特有のエモーショナル・プレイを聴かせる1枚。全英4位を記録した名曲「パリの散歩道」収録。(1978年発表)
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