Gainzilla
Well-known member
Yep, he played it like he meant it...JTyson":284bm5qp said:One of my biggest influences, the guy never put less than everything he had into the moment no matter what style he was playing
He is sorely missed
carlygtr
Banned
New member
Not an influence, but I always liked Gary's playing. His 1990 blues DVD is why I bought my first SLO. Had the earlier metal stuff but I dug the blues shit better. I also liked BBM, Bruce, Baker, Moore
Shapes Of Things isn't a Gary tune, it's from the Yardbirds, done later by the Jeff Beck Group.
Shapes Of Things isn't a Gary tune, it's from the Yardbirds, done later by the Jeff Beck Group.
Shawn Lutz
New member
I think Gary did make Shapes of Things his own regardless who wrote it no? Just as Judas Priest made Green Manilishie and Van Halen made You really got me theirs and they didnt write em, they covered them 
Badronald
New member
I love Gary. Great at all his styles.
However.....I always found myself telling him to settle the f@&$ down when he was playing the blues. I even heard BB King and Albert Collins tell him to settle down kid. A little spastic sometimes but I love the guys fire and passion though. Tone. Power. Balls. I really liked his voice too.
However.....I always found myself telling him to settle the f@&$ down when he was playing the blues. I even heard BB King and Albert Collins tell him to settle down kid. A little spastic sometimes but I love the guys fire and passion though. Tone. Power. Balls. I really liked his voice too.
carlygtr
Banned
New member
One of the most awesome Gary moments....from Cozy Powell's 1979 Over The Top album. Track is called Killer, w/ Don Airy, Jack Bruce
Blix
Member
I love Gary, his Victims of the Future Strat tones are super awesome.
I had had the pleasure of being his guitar tech for one gig here in Norway in the 90's. A genuinely nice guy.
Standing beside his amp and hear him rip his heart out from 6 feet away was insane!
I had had the pleasure of being his guitar tech for one gig here in Norway in the 90's. A genuinely nice guy.
Standing beside his amp and hear him rip his heart out from 6 feet away was insane!
Shawn Lutz
New member
great Cozy Powell track cupcaketwins, thanks for posting that...he's one of my favorite drummers.
skoora
Well-known member
MrDan666":vtrp0f7d said:
Big +1 on that.
Also agree on the comment by Badronald
"However.....I always found myself telling him to settle the f@&$ down when he was playing the blues. I even heard BB King and Albert Collins tell him to settle down kid. A little spastic sometimes but I love the guys fire and passion though. Tone. Power. Balls. I really liked his voice too. "
I've been playing the shit out of Run For Cover lately. His guitar tones in the early 80's up to that album were as good as it gets in hard rock I think.
Red_Label
Active member
cupcaketwins":2mjgaw03 said:
Very true!
BUT... as much as I dig Beck when he's doing his thing, his original version of Shapes is flat-out pedestrian compared to Gary's cover. Gary just RIPPED that tune a new one and it's probably my favorite Gary solo (that and the intro to "End of the World"). As far as I'm concerned, Gary's version might as well be a completely different song -- and that's a good thing.
Zap
Active member
Red_Label":1z8c5iaz said:
The original Yardbirds version does nothing for me, but in defense of the Jeff Beck Group version, it was recorded 15 years before Victims. I do appreciate Gary's cover just like I appreciate the many covers that Joe Bonamassa does.
Atomic Playboy
New member
Gary Moore has always been my main influence ,with JImi, Beck of course along the way but Gary was the first guy whom was in complete mastery of the technical side of his sound, along with guys like SS and Yngwie of course, my three main men!!
I have been a tireless advocate for all things Gary Moore since first hitting the Interwebs in 2005.
I love all of Gary's various 'periods' for varied reasons. The 1983-1985 era for the sheer power and dynamics pf his complete package. His complete technical command of the instrument which only improved over the years and forced to deal with subpar lead singers Gary assumed the role of vocalist, playing and sing at the same time to a standard few others could hope to reach at all
The fan forum admittedly poorly subscribed over the years The Lord of the Strings I have been a faithful contributor to since the first days on the net.
Here is the old format forum where I was still Emerald, search my threads for all the dedication I have placed towards Gary.
http://www.livesound2.websitetoolbox.com/
Here is the moore modern era of the forum still Emerald, search my posts for tons of info:
http://www.garymoorefc.com/en/forum/vie ... f919f0a2d3
http://www.garymoorefc.com/en/forum/vie ... f919f0a2d3
And the Guitar Threads which I felt I singlehandedly kept going for years:
http://www.garymoorefc.com/en/forum/vie ... f919f0a2d3
My contributions to the guitars sections, with the most views I might add, I lost enthusiasm after awhile, I could write the Charvel/Fender and Gibson sections as well but never got to officially writing them though I virtually had through all my posts"
http://www.garymoorefc.com/en/guitars_heritage
http://www.garymoorefc.com/en/guitars_hamer
Then The Les Paul Forum where I singlehandedly defended Gary against the most spiteful and mean out of hand criticism from various clowns I hope these links can be read without a subscription.
There were moore people who attacked Gary's appearance and everything but could not fault directly his playing. All these years I kept faithful to Gary as a major fan and supporter, even though the blues years became somewhat tedious to me who longed for the Celtic rock era to return.
Then in 2009 I decided to interview Gary's longstanding co-writer and faithful band member, Neil Carter.
The thrust of my interview was the rock period from when Neil first joined Gary in the early eighties and continues through the last of the rock years 1989.
Here is my rough with the questions I had for Neil, my real interest lay in the Wild Frontier and After The War eras:
Neil Carter Interview 2009
Neil, I thank you for this opportunity to speak with you and discuss, for me one of the most musically rich and satisfying periods of rock music, your years as an integral member of the Gary Moore band.
I hope to cover the time period starting with, the Victims of the Future, LP and tour , the Emerald Aisles documentary/performance video and ending with the only recorded media I have of the “After The War” tour, the 1989 Royal Ulster Hall concert, recorded in Belfast.
Since I am leaving out a huge part of your musical career, from the early days, through the Gilbert O’Sullivan sessions and then Wild Horses and UFO, I would love to concentrate on what for me, is the zenith of Neil Carter, journeyman rock musician and master of many instruments, your indelible stamp and multi-faceted contribution to in my opinion, the most brilliant of Gary’s lineups in his rock, then Celtic-Rock era.
I will number the questions to make it easier for us to communicate back and forth and by no means is this the final version of the interview.
I already have discovered that this numbering is difficult, so I will work on the construction of the questions and answers!!
As you mentioned to me, you had told Gary about receiving the DVD’s and CD’s of primarily the Wild Frontier live tour, but I also have some downloads of earlier shows , particularly around the time of the We Want Moore era. I will send these to you as well.
As we had discussed in the earlier e-mails, the post Wild Frontier recording, the subsequent tour was for you such a great memory and you were up front with the guitar, out from behind the keys, on vocals. Whereas the After The War tour, the focus was different, the songs, from what I have read Gary has said, he felt pressure from the management, ect., to break more into the mainstream rock market, particularly in the US, hence the Ozzy collaboration, using Cozy Powell, the mega-rockband drummer, ect.
All this is a preamble to the actual interview, which will admit Neil is my first attempt at such an effort, I have been writing about my music experiences and the technical side of music, guitars and amplifiers in particular for a few years and have had, I feel a quite successful go of it and for an old guy, 55, I have learned a few things.
My moving to London at age 11, in 1966 and experiencing the excitement of the music scene there, set the tone for my life, where I became involved in electronics, to a highly specialized level, then made a career change, to nursing and now I am in open heart surgery critical care nursing at the highest level, which is stressful, yet rewarding.
Enough about myself, I spent time back and forth between England and the US, returning to London in 1976 until 1983, when I left for the States again.
So I will begin the questions, I will modify all my preamble, ect., in a proper form for the finalized effort.
I also will separate the gear, technical questions from the other commentary.
It would give me the greatest of pleasure to have you include this interview on your own web site at some stage…. Also I am finding as I go here some things that I have out of sequence, ect and am correcting them, so hope to have my homework done
Ok then here we go…
1. Neil, you mentioned after your experiences with UFO, you were ready for a more stable, both musically and emotionally, experience with your career.
Also when the opportunity to join Gary’s band occurred, he was apprehensive hiring someone from such a nefarious group as, UFO, but you were in fact relieved to have more musical stability and be surrounded by a more professional environment.
So it all worked out. Could you explain the circumstances surrounding how you came to meet Gary and joining his band?
From the Tour programme of Victims of the Future, You are quoted as saying and this is for your reference.
With UFO behind him, Neil didn’t have to wait long before Gary Moore was in the blower talking auditions. “I tried out and it was great,” Neil enthuses. “I’m really enjoying working with Gary, he’s such a talented bloke and there’s loads to learn off him.
The new album’s marvelous, it’s one of the most powerful albums I’ve ever heard.
It’s real heavy , heavier than anything I did with UFO. And that’s the other great thing about Gary – he knows exactly what he wants and how to get it. After UFO being so slapdash, it’s marvelous to be with someone so positive and who isn’t drinking himself into the ground.
With UFO there was no continuity, sometimes it’s be great, other nights, especially towards the end, it was more likely to be the pits. With Gary you know the shows are gonna be of a certain consistently high standard. He never cheats the audience.”
2. Recording the LP Victims of the Future you contributed to the writing of Victims of the Future and Empty Rooms and Murder in the Skies.
This is the first appearance of Empty Rooms and you are playing keyboards and contributing backing vocals. The rhythm section on this LP was Neil Murray on bass and the great Ian Paice on drums.
Craig Gruber was the touring bassist though, not Neil Murray? But then Gruber left for personal reasons and Bob Daisley was on board
How was it working, recording and touring with that lineup?
Then the We Want Moore recordings took place
Then I believe the fantastic Emerald Aisles was filmed on the Irish leg of that tour.
This was the first experience of the band with the brilliant NFL films, who certainly took things to another whole level, with their professional camerawork and superb editing.
I have seen some clips from the year 1986 and sent you a video from Japan on tour in 1986.
I believe the second LP you recorded with Gary was Run For Cover, which to myself as a huge Gary Moore fan and sort of historian, to me, this LP was a combination of attempts to have Glenn Hughes do lead vocals. Gary also had recorded tracks with other keyboardists, including Andy Richards and Don Airey. You are featured as co-writer on the tracks, All Messed Up, and of course the incredible Empty Rooms.
I know that in later touring, you would play guitar and sing vocals on All Messed Up, which was a big crowd pleaser type tune.
I am curious as to the fact that on Empty Rooms on the LP sleeve, you are listed as backing vocals, but Andy Richards is the keyboardist!
Did Empty Rooms success as a single place it on the following album, I apologize, but I don’t have the answers..to why this occurred!
You did provide keys and backing vocals on Listen To Your Heartbeat, which to me were a highlight of that tune.
The fact that there were 5 different producers I believe, may have contributed to the confusion, as well as three different vocalists, three different drummers and three different keyboard players!!
As far as the rhythm section was concerned, there were various lineups for this album, including, Glenn Hughes on bass, Phil Lynott on certain tracks, including Military Man, Bob Daisley, who would become the regular bassist and various drummers.
Charlie Morgan, Paul Thompson (ex-Roxy Music), Gary Ferguson and the appearance of James ‘Jimbo’ Barton, who played sampled drums, which were to play such an integral part of the next studio LP, Wild Frontier. I get the impression that the Run For Cover was a combination of sessions and as Glenn Hughes, for various reasons, didn’t work out as bassist and vocalist, the touring lineup would be different.
The Live in ’85 tour followed next with some personnel changes. It is interesting to follow the band through the various clips, including some that I sent you.
The interval to the next album, the masterpiece Wild Frontier which Gary pretty much recorded with a drum machine and no live drums. To me this is where you assume more of a leadership role in the band Neil.
I suppose due to the revolving drum chair issue, at least the drummers weren’t exploding ala Spinal Tap !!, the majority of the drum track demos were done t Marcus Studio in London, with the Linn 9000. Roland Carridge ‘Reflex’ did some of the overdubs.
As a guitarist, this period brought about changes to Gary’s guitar lineup.
The Custom Shop Charvels he obtained from what I can ascertain in my research in 1986, the red rosewood board and the white maple board models, with the top mount Floyd Rose Tremolos, and single EMG pickups.
You had been playing Washburns earlier and the occasional Hamer, both excellent guitars. I am sort of ignorant of keyboards so I apologize for not detailing the models, I have the various models listed in the tour programmes.
I have read that Martin Prior was your keyboard/guitar tech at this time, and must compliment you on your excellent live keyboard and guitar tones!!
The mysterious Keith Page, who was Gary’s tech for the Wild Frontier tour, I can find no reference to on the internet, he seems to have disappeared off the map.
As you mentioned you would be getting together with Gary at some time, I have a whole load of questions for him, not too anorak about the live WF tour guitar tones, which from both of you are absolutely amazing..
I know that Gary’s main setup consisted of his amazing Marshall 1972 Super Bass, which had originally been repainted purple and Gary returned to traditional black, he also used two other 100 watt Marshall heads, each with a single 4X12”, the signal chain an Ibanez Tube Screamer, then a Roland 555 Space Echo connected to a volume pedal, then into a Roland SDE 3000 Digital delay and then into the magical Roland Dimension D. where the single is split into two stereo channels. During the Stockholm video, I can see Gary reaching over to adjust something to the right of Eric’s drum riser.
What monitoring did you have from all the various other instruments, on your keyboard side?
Again as I have told you the Live at Stockholm video, is actually one of my favourite concerts of all time. The superb audio recording, the great NFL films editing, ect.
Your playing and enthusiasm Neil certainly makes this show, and this is displayed through the whole show. I know that the band played “Shapes of Things” on many of the un-edited bootlegs I have from this tour and also on ‘Military Man’, another of my favorite tunes, Gary often improvises after the first softer solo. This is captured in film from the 1989 “After The War” show, which is spoiled for me by the constant audio problems Gary was undergoing during that live broadcast. Do you think the broadcasting efforts had something to do with those issues. His guitar tone has no sustain and from the beginning of the show is looking stage right to his tech. I don’t know if it was a monitor issue, but the guitar tone is dreadful, not Gary’s playing and I wish other shows had been filmed as that is the only video of my beloved Blood of Emeralds, that I possess, but I am jumping ahead a few years!!
On the WF Stockholm show, I’m sure it has been edited for time, ect.
I know that you enjoyed playing with Eric Singer as he is a fabulous drummer and well suited to the big arena rock stage. Also the amazing Bob Daisley, a great musician in his own right, who played with Gary’s band for quite a few years.
I have a question about the recording of the WF LP. How involved were you in that process? I am sensing Gary, post Phil’s death, had worked on these tunes, with the Linn drums. How much keyboards did you contribute, if any to this album?
The genesis of this incredible lineup is the touring unit that it became, the tightest most entertaining and multi-faceted band Gary has ever had imo!
That you would come out front for Shapes of Things and all All Messed Up, and your great backing vocals and guitar work on this tour.
To me being a fan, you still were so young Neil, but achieving great critical success and many, many Gary Moore/Neil Carter fans will tell you that this lineup is their favorite of all time!
That your voice melds so well with Gary, makes the interchange on the vocals a true joy!
The interplay between you and Gary and the communication that you both exhibit is absolutely amazing, just a nod or so and the band is off. I have to say of all of Gary’s keyboardists, your contribution and interplay with his guitar is on another whole level!
I realize the questions are few and far between, but I am trying something different here and not the usual boring question and answer format, which always leaves me, a fan with specialist knowledge frustrated as the interviewer always seems to ask questions or maybe their questions and answers are edited in such a way as to lose the focus and drive I am seeking in this experience!
Personally I am excited to obtain inside knowledge of one of my all time favorite bands and gain an insight into some of your thoughts and feelings about these times.
I know when Gary made the decision to go in the blues direction, which was certainly successful for him, that was not an area that you cared to go into, I have read.
The After The War recording and tour, gave me the sense of the end of an era. As I mentioned previously, Gary’s pressure to get more commercial rock exposure from management and the record company and the Sharon/Don Arden management certainly had something to do with it.
Can you detail some of the background of the After The War LP recording. I have read that you were inspired to write Blood of Emeralds whilst in Dublin.
I have to say that Gary’s Celtic rock inspired songs are amongst my favorites.
The way I understand it is that you came up with the music and melody for BoE and then Gary added his autobiographical lyrics, or was the song a collaboration of a more close nature?
I know that in his writing of WF, the Celtic influenced songs, was an exciting direction for Gary and, the whole tribute to the loss of what could have been with Phil Lynott, is so sad, yet the melodies are so strong and the guitar playing, a whole new level for Gary, displaying a power, he had only hinted at before..
I must tell you that the beautiful melody of Empty Rooms and more so Blood of Emeralds, which brings tears literally to my eyes, every single time I hear it, the power and emotion, the incredible loss and sadness, encapsulated in such a haunting melody of beauty, which, though I love Black Rose very much, Blood of Emeralds is a masterpiece work.
Your unique contribution to what is my favorite Gary Moore band era, is what makes the difference.
As much as I enjoy Still Got The Blues, After Hours and the superb tribute Blues For Greeny, the 1984-89 era is absolutely classic.
Such a shame that Virgin doesn’t place Emerald Aisles and Live in Stockholm on DVD, with remastered sound and extras is a shame as many, many fans want this.
Last year a Japanese friend I have was able to obtain for me a Maxon ST-01 Super Tube Screamer, which I have thought for some time may have been, or the Ibanez version, an integral part of the great WF guitar tone. It’s the tone with the gain set just on the brink of feeding back, such as on the extended opening of Over The Hills and Far Away and also the Loner, where your keys make the song as enjoyable as it is and such an improvement over the earlier Cozy Powell album version.
As the Wild Frontier era was one of your favourites , this time period until the After The War recording and final tour are what fascinates me the most.
I apologize for the disjointedness of this so far.
I do feel a connection to be able to meld an interesting interview of memories that you and perhaps Gary have of those times, to document one of rocks classic lineups and not to discredit the earlier politically brave songs that Gary wrote like Murder in the Skies and Victims of the Future.. The consistently high standard of writing and playing exhibited in those years will never be matched again, I feel.
So let me know your thoughts Neil, as I say, this is a fluid work in progress and I have tried to research as best I can the chronology and facts, ect.
Yes, I enjoy the technical nature of the writing and touring, but the human side behind the music, interests me as much.
I can’t tell you how happy I was to hear that you were to watch the videos with Gary again, that brings joy to me as a fan as those were great times and being a long time supporter of Gary as well, he has gone through so many rough times recently, especially, unfortunately from my side of the pond. Just let him know many of us believe in his integrity and commitment as a musician, still to this day. A few years back I tried to contact Gary through Graham Lilley, which I feel didn’t even reach Gary himself.
I feel that my concept of the happy and sad times of the GM band featuring Neil Carter, is the focus of my interview.
That Neil Carter is the ingredient that is most important, cannot be overstated and I mean this most sincerely Neil.
I wanted to send you some rough thoughts I have and look things over and then give me some feedback and I can firm up a more formal interview, if needed.
Also since I transferred all my rare VHS tapes to DVD, if Gary wants any copies as I also have his An Evening of the Blues, Blues Alive, The Jack Bruce 50th Birthday show, and Blues For Greeny, if he would like them on DVD format!!
Let me know your thoughts Neil and I’ll work some more in this and as I said, would be honored to have your input and will make a great addition for your web page as well!!
Thanks Neil
Dave
Phoenix,Az. USA 23/09/09
Neil Carter, the unsung hero of the Gary Moore Band's greatest years
Without a doubt, as one who has studied the music of Gary Moore from quite early on in his career, the introduction of the multi-talented Neil Carter to Moore's rock band lineups, was indeed the catalyst for some of the finest and most enduring musical milestones in this phase of Gary's career. That Neil would unselfishly contribute his dynamic writing, playing abilities and performances, being such a gifted one in all these areas, truly is the mark of a great musician. To me the zenith of this collaboration, was the "Wild Frontier" era, even though Neil's actual contributions to the recorded album are not as substantial as other of Gary's albums, this LP and to a great deal as well, the "After The War" album, are standouts to me, though earlier albums have Moore/Carter compositions that are just as great.
Recently Neil was kind enough to contribute some of his valuable time to answer some questions, about this time frame and the demise as it turned out of Gary's rock era. What I have personally learned from Neil as a writer, is to place oneself somewhat apart from the subject, and to not make assumptions, no matter how well informed! To the true dyed in the wool Moore fan, the guitar, keyboard and vox contributions from Neil, contribute that final percentage of magic. This really brought out the best in the bands leader. Certainly Neil has had a well rounded rock music career and would be successful no matter what group he contributed to, but the magic elixir that is Carter and Moore, cannot be denied...
Let's start with the leaving of UFO and your call from Gary, asking you to audition/join his band. How did it feel to suddenly be in the presence of a much more organized creative musical experience?
It was very refreshing and also to get the chance to play with Ian Paice was quite a pull for me. Initially I was just going to do the US tour supporting Def Leppard but I got on well with Gary and stayed for quite a long time as it turned out! The main difference was that UFO was very much perceived as a band and I felt, initially, rather uncomfortable with being part of what could have been interpreted as a "backing group". A bit of the old UFO ego coming to the surface! However my initial fears were groundless as in reality it never felt totally like that. What was a bit strange was playing third on the bill to Def Leppard when they had, 2 years prior to that, supported UFO and 5 years before carried my amps into a gig in Sheffield when I was with Wild Horses. But I thought "if Ian can rise above this, I can"!
Gary had already recorded "Corridors Of Power" when you joined and you contributed to the writing of "Victims Of The Future". Can you describe what it was like to first of all write with Gary and then transferring that to the recording process?
Gary was always keen to get ideas for songs and I actually was the most involved with the recording process of that album, more than any of the others. I had a load of unused riffs and ideas so it was good having someone to "bounce off" like that. We worked the ideas into basic song format and then Gary went away and wrote lyrics. I don’t think we did that many demos for that album, but I could be wrong.
You have said that "Empty Rooms" was a work in progress when you joined Gary's band, can you recount when you first had the genesis for the beautiful melody of this song?
I had only really written the bare bones of it and my input was to the chord structure and mood, I wrote it in a hotel room in Texas if I remember rightly! The version I have from the UFO times sounds quite like it in some ways but Gary must take full credit for the melody and overall finish on that one!
I am interested in the time frame from "Victims Of The Future" to "Run For Cover". Did Gary's working with Phil Lynott in a way, plus his experimentation with Glenn Hughes as lead vocalist, plus the multiple producers, and other players, contribute to what I feel to be Gary's least cohesive LP of that era?
Hmmm. I suppose it was a touch fragmented and perhaps there was a bit of ‘direction finding’ involved. He hit gold with Peter Collins though and I think the best work is with him by far. I liked the rerecorded Empty Rooms, sadly the Glenn Hughes vocal is in a vault somewhere. I wish I’d had the foresight to take a copy home!
Also Andy Richards playing keys on the version of "Empty Rooms" on "Run For Cover", how did that happen?
The connection with Andy came through Peter Collins I think, he used a Fairlight and there was lots of "fairy dust" courtesy of him. I think they were keen to use as much of the new technology as they could so he did the "expensive" keyboard parts. He worked a lot with the Pet Shop Boys who were sort of ‘cutting edge’ with keyboards etc. and Gary wanted a bit of that.
By what time period did you feel the completion of the core group of Gary's band, with different drummers and then no drummer at all on "Wild Frontier"?
Actually around the aftermath of "Run for Cover" and the tour that followed it. Bob had become a regular feature but we still could never quite settle on a drummer. They always seemed to come and go. The best all round was probably Gary Ferguson although he only did one tour.
It is my impression that once the band consisting of yourself, Bob Daisley, Eric Singer and Gary was finalized, that band lineup never recorded another album post the touring for "Wild Frontier", and that after that long tour, this band was ready to do such a fantastic album it would seem, again what happened post the Wild Frontier tour and again the gap to "After The War"?
I look back on it and there were always flaws with each drummer, hard to believe but there were. Gary was always a stickler for tempos and the maintaining of them. Drummers can speed up and slow down, there are numerous examples in the live material, and in the studio it became very frustrating. So the sampled drums were the answer. I am still to this day actuely aware of this and my poor kids at school, particularly the drummers in our Big Band get hell from me if the tempo shifts! Mind you it hasn’t harmed any of them through the last 15 years. Therefore when it came to "After The War" we used machines and by the time we toured I think Eric was busy or it was felt that a new guy would be the best way forward. This all goes against the ethos of laying backing tracks as a band, rather strange that nowadays the nature of Gary’s music is more feel based. The one with the best feel was actually Bobby Chouinard but unfortunately he was the one who was a wee bit unreliable and something of a loose cannon. But also an entertaining character!
I am not aware of the circumstances surrounding the recording of "After The War", other than I had read you regretted Eric Singer, either not being available or Gary's reuniting with Cozy Powell, as somewhat of a disappointment for you personally.
Yes, I wasn’t a great Cozy fan (quite a lot of baggage there) and I liked Eric a lot as a person. He was always really easy to work with and very funny. I think he is a real "stadium rock" drummer but not cocky with it which is probably why people like Alice Cooper and Kiss have him around to this day. A very genuine guy.
I have read other books, especially on Black Sabbath, where Cozy became quite involved with the production of the records he was asked to play on. What were your feelings Neil, after the huge success of the WF lineup and the sheer ability and power of that band, and then it seemed another cut and paste type effort during the recording of "After The War"?
I liked that way of working to be honest and live/studio situations were always quite separate entities. Initially it was Gary, myself and the drum guy (whose name eludes me) in Denmark recording the basic tracks. Although not all were done there and Gary did some stuff when I wasn’t around. He has always been his own man so there are tracks along the years that I had little or absolutely no input to.
I have read that you wrote your contribution to "Blood Of Emeralds" in Dublin. How was the song writing collaboration between you and Gary working by that time?
Actually I wrote the basis of that at home during a break from touring and then Gary and I played around with it. We did a lot of demoing in Dublin though and spent a number of weeks working on material. Gary was doing a tax year out of the UK so I was commuting between home and Ireland each week. That was a really nice time. I always used to give Gary tapes of song ideas and he would sift through them, picking out riffs he liked or even moods and then formulate them into a song idea. We rarely sat down and said ‘let’s write a song’ it never really worked like that. But we did bounce a lot of ideas around on After the War, more so than any other album. I really loved the ‘celtic rock’ thing and Dublin was the ideal place to do it, obviously.
Eric Singer is a key to the tightness of that lineup, with Bob Daisley and this solid rhythm section, I'm sure allowed you and Gary, greater freedom to concentrate on the vocals, rhythm guitars and keys, than with the other lineups.
Well yes, it was very powerful certainly. I think the roles were becoming more established and the splitting of vocals was good as it provided variety and gave Gary chance to play without being lassoed to the mic.
Was the "Wild Frontier" album fairly complete in many aspects once you became involved with it?
Yes, my contribution is probably the least on that although I am there somewhere! I would need to jog my memory and listen to it! I mainly did backing vocals and some keyboards. The "big" tracks were done with "expensive keyboards" so Andy was used a lot. To this day I have never met him!
The similarities of yours and Gary's voices, certainly worked well on tunes like "Shapes Of Things", "Rockin' Every Night", ect. What kind of experience was it playing guitar on stage with a player of Gary's stature?
It helped to confirm my inability to play lead! No in all honesty I am a competent rhythm player and am quite "solid" in my very basic ability so it suited that sound. To play with someone like Gary is inspirational and he injects so many different colours into his playing. I never once saw him play under par, he always delivered the goods! It was fortunate our voices were similar and I did enjoy singing, always have, and the only thing I truly miss about my old life is that I never sing these days which is a pity.
It is my personal feeling , as I have mentioned before, that the "Wild Frontier" lineup could have carried on to make an incredible record and Gary certainly hadn't said it all with the Celtic rock approach. From interviews I have read with Gary, he states management and producers were forcing him to take a more broad based approach to the material for "After The War" and obviously the same enthusiasm, he does not show live for that tour compared with the 1987 "Wild Frontier" era. What are your thoughts regarding all of this?
You know I don’t remember it being like that, but a lot of time has elapsed. I am aware that he was fed up with the stuff we were doing and wanted a change so that may have come across. I didn’t enjoy that tour as much for sure mainly because I was playing keyboards so much and felt a bit "restricted" on stage. Also I never felt the "kick" playing with Chris Slade that I got from Eric or Gary Ferguson or even Paul Thompson who wasn’t a heavy drummer really. The "show" looked good but perhaps the energy was less than 100%.
On the technical side, you were playing Hamer and Washburn guitars, were you also using Marshall amplification?
Yes always Marshall 50 amps and 4x12" cabinets. On the "After The War" tour I used a Les Paul that Gary gave me for my 30th birthday.
The circumstances surrounding the live video of the Stockholm show are of great interest to many fans, still to this day. Do you feel that the video accurately captured the band at their best?
It did yes although it was a "one hit" so there was a lot of pressure to get it right. It captured the time and place really well and the crowd reaction, venue and material are all spot on. It’s good and I can look at it without cringing. I can quite say the same about the Emerald Aisles one….those outfits!
In particular the keyboard parts you developed for the material from the "Wild Frontier" album and the earlier songs, add so much dynamics to the arrangements, that these are the definitive versions of all these songs, in my opinion, Empty Rooms included. Also your enthusiasm adds greatly to the video, were you enjoying it as much as it appears?
Without a doubt. I loved that size crowd and the electricity of that night is really well captured. It’s quite sophisticated for its time and we were playing well as a unit. It also has a real feeling of, dare I say, success. I have a "taken from the audience" DVD from Milton Keynes and I look like I am really having a ball on that one. Natural enthusiasm I suppose and a desire to please! I still have it. (just).
As far as Gary's guitar setup for the WF tour, the voicing of his guitar, both for lead playing and rhythm, is strikingly different than his earlier live rig.
I know he was using the same amplification arrangement as on earlier tours, with his '72 Super Bass, as the main amp, feeding several other 100 watt Marshall heads.
The use of the active electronic EMG pickups and the Floyd Rose tremolo systems, certainly helped to shape this voice. As a fellow guitarist, what do you think was maybe a secret to the amazing tone he got on that tour, particularly on the live video?
Actually he does have quite a different sound on that video. It suited the material really well, especially "Thunder Rising" which is great on the video. Secret...hmmmm not sure on that one although he had a really clear vision of how the tone should sit with the songs. It is very stylish and has a unique quality.
As a fan of yourself and Gary, Neil, one can't help but feel some sadness and regret that what was such a powerful , certainly live lineup, couldn't have carried on in the same vein.
Do you feel that Gary, perhaps, was "burned out", by the constant touring and pressure to top the previous albums?
Well yes, also perhaps a desire to get back to the roots, a wise move as it turned out, and not to repeat yourself again and again. I had been with him a long time by 1989 and perhaps we had run our course creatively. I didn’t really give it a lot of thought at the time of the tour but in hindsight it was obvious something had to change for him.
I know that when Gary made the decision to develop the blues band concept, that you weren't particularly interested in this. Were you invited to join at first?
No, and I don’t blame him for not including me as I was a less than enthusiastic when they had their blues jamathons at sound checks. It really isn’t my sort of music although it’s enjoyable in small doses and I appreciate how well Gary does it and how a part of him it is. I like a lot of the songs Gary has done since but like I say, in small doses.
Post the last LP and tour with Gary, what musical projects were you involved in?
Bob and I did some work with a young guitarist managed by Peter Grant, I know his name was Tommy and he may still be playing today for all I know. I did some London theatre work as a favour to a friend and spent a lot of time writing and did some demos. I explain on my website that the "epiphany" came one day when I sat at the publishers playing some stuff I had recorded and looked at the banks and banks of tapes he had. It was obvious that without a vehicle nothing was going to happen and I thought, "that’s it!" I had no idea how life would progress from there at that point.
It appears that it gives you great satisfaction to be able to pass on to future generations your love and talent for music and your work at Brighton College, must certainly be applauded. How did you get involved in playing woodwinds?
My principal instrument at school had been the clarinet and prior to my going down the "evil path" I had been offered a place for further study on it. But to my parents horror I jacked it all in to become a rock musician. So when I stopped all that my partner who is a harpist suggested I do a few lesson to busy myself. Typically me I plunged into it in a big way and went back and gained my qualifications. It wasn’t necessary that I did that but teaching somewhere like Brighton College which is currently "the" independent school in our part of England it is expected. Also I am great one for having a "goal" to achieve. Now I teach clarinet/saxophone and am full time Head of Woodwind and Brass at the College doing a wide variety of things.
David Talkin (October 2009)
Dave goes by the forum name Emerald in The Lord Of The Strings Fan Forum, is also know as yngwie308 on most other music internet forums.
He has his own personal web blog: http://www.daveonrock.com and recently has become a major contributor to the website http://www.vintagewashburn.com. Also he has written about the music of Tommy Bolin for BSM Treble Boosters. Gary Moore has remained one of his strongest influences, right alongside, Jimi Hendrix, Jeff Beck and the masterful Peter Green.
• Login to post comments
© 2007-2012 garymoorefc.com
Lot's of SS projects on the back burner at the moment but soon when I have the time and financial stability will post all my GM stuff.
For example when I did the Neil Carter interview i sent Neil dubs on DVD from all my GM VHS tapes and bootleg CD's.
Neil told me that when they got together at Neil's house in Brighton, the ideas came up to return to the Celtic rock era material and Gary became inspired as they watched my media material together.
Then later post the last tour in 2010, Neil told me that my DVD's were instrumental in their band rehearsals as they had no VHS players and they used my DVD's for reference to remember the songs!
You don't know how much that meant to me...it was a dream come true and as a dyed in the wool GM fan from the start, my hopes and prayers to hear all those great songs again plus the 4 new songs, I was in nirvana.
I will tell the whole story here on Rig_Talk when I get time.
Neil got Gary to sign a promo poster from the After The War era with the late great Cozy Powell in the picture. Neil signed it and got Gary to especially sign it for me and post it to me from England.
Kinda had a role in Gary Moore getting on board with the Melvyn Frank's Collectors Choice #1 guitars. Gary's tech and apparent manager Graham Lilley's mum had died so he wasn't checking his emails.
The Gibson Custom Shop was urgently trying to reach Gary on his tour to sign off on these PG/GM Greeny replicas. So through the help of the webmaster of the LOTS forum Zoltan from Hungary we managed to reach Gary's tour manager and Gary approved the replicas, both the VOS and the Murphy aged versions.
These were sold with out the COA's, which Gary later signed and they were sent to the original buyers.
In a recent meeting with Micheal McGregor Charvel product manager (well in May) and Fender's PR guy on another matter, since Gary's two 1986 constructed Charvel Strat heads which were never built at San Dimas as they eventually appeared, these guys had never ever heard of Gary's guitars, even though he was featured in a Jackson ad in the eighties showing him playing his white Soloist!
Keith Page, Gary's guitar tech put those two guitars together from various Charvel's that Gary had purchased previously.
We are discussing the white/ maple board version with the Strat pick guard and the single EMG 81 and top mount OFR. Also the red rosewood board with similar layout. The white Charvel has a body colored headstock and a black anodized R2 nut with otherwise chrome hardware. This guitar has a double hum bucker route under the Strat style pick guard, which contributes to the resonance of the guitar.
I have researched all the previous Charvel's that Gary had and which ones were donors to make these two incredible Super Strat's that Gary used from 1986 onwards.
The Stockholm Isstadion concert, one of the finest live stadium shows ever recorded imo features these two incredible guitars in their finest moments.
I have done intense Gary Moore equipment research since the early eighties and get lots of requests from all over the net about Gary's equipment.
I have done a similar effort with Steve Stevens and Yngwie.
One day my own book will come out featuring all these guitarists, including Rory Gallagher and this is on my bucket list of projects.
Unfortunately I could not afford to continue my blog Daveonrock, but have saved the content.
I think I will kick off a GM appreciation thread here when I get time.
I saw your new avatar and thought, let me clue Kage in on all my mega GM stuff that I have collected and written about!!
The most incredible feat by Gary on the last tour in 2010, is his use of the LP's exclusively and his adaptation of the previous Charvel/Hamer OFR material with a fixed bridge Les Paul.
The best playing of that tour came about towards the end of the tour as they extended dates in the Ukraine.
Gary is playing so sublimely and his singing is so soulful that it appears as if he almost knew this would be the last.
BTW here is my Tommy Bolin article about his career concentrating on his equipment commissioned by BSM Treble Boosters to celebrate their exceptional Spectrum pedal
http://www.treblebooster.net/bolin.html
Here is my long thread when the 2010 (final) tour started and I was Gary's biggest cheerleader, hope these aren't locked here without membership!
http://www.lespaulforum.com/forum/showt ... p?t=168213
http://www.lespaulforum.com/forum/showt ... p?t=155599
http://www.lespaulforum.com/forum/showt ... p?t=164756
http://www.lespaulforum.com/forum/showt ... p?t=173268
http://www.lespaulforum.com/forum/showt ... p?t=173240
http://www.lespaulforum.com/forum/showt ... p?t=179943
http://www.mylespaul.com/forums/search. ... id=6976451
http://www.mylespaul.com/forums/search. ... =25&page=2
http://www.mylespaul.com/forums/search. ... =25&page=3
http://www.mylespaul.com/forums/search. ... =25&page=4
http://www.mylespaul.com/forums/search. ... =25&page=5
http://www.mylespaul.com/forums/search. ... =25&page=6
http://www.mylespaul.com/forums/search. ... =25&page=7
Sorry for the bombardment but you guys are getting me excited about Gary again!!
Thanks for reading
Emerald
I have been a tireless advocate for all things Gary Moore since first hitting the Interwebs in 2005.
I love all of Gary's various 'periods' for varied reasons. The 1983-1985 era for the sheer power and dynamics pf his complete package. His complete technical command of the instrument which only improved over the years and forced to deal with subpar lead singers Gary assumed the role of vocalist, playing and sing at the same time to a standard few others could hope to reach at all
The fan forum admittedly poorly subscribed over the years The Lord of the Strings I have been a faithful contributor to since the first days on the net.
Here is the old format forum where I was still Emerald, search my threads for all the dedication I have placed towards Gary.
http://www.livesound2.websitetoolbox.com/
Here is the moore modern era of the forum still Emerald, search my posts for tons of info:
http://www.garymoorefc.com/en/forum/vie ... f919f0a2d3
http://www.garymoorefc.com/en/forum/vie ... f919f0a2d3
And the Guitar Threads which I felt I singlehandedly kept going for years:
http://www.garymoorefc.com/en/forum/vie ... f919f0a2d3
My contributions to the guitars sections, with the most views I might add, I lost enthusiasm after awhile, I could write the Charvel/Fender and Gibson sections as well but never got to officially writing them though I virtually had through all my posts"
http://www.garymoorefc.com/en/guitars_heritage
http://www.garymoorefc.com/en/guitars_hamer
Then The Les Paul Forum where I singlehandedly defended Gary against the most spiteful and mean out of hand criticism from various clowns I hope these links can be read without a subscription.
There were moore people who attacked Gary's appearance and everything but could not fault directly his playing. All these years I kept faithful to Gary as a major fan and supporter, even though the blues years became somewhat tedious to me who longed for the Celtic rock era to return.
Then in 2009 I decided to interview Gary's longstanding co-writer and faithful band member, Neil Carter.
The thrust of my interview was the rock period from when Neil first joined Gary in the early eighties and continues through the last of the rock years 1989.
Here is my rough with the questions I had for Neil, my real interest lay in the Wild Frontier and After The War eras:
Neil Carter Interview 2009
Neil, I thank you for this opportunity to speak with you and discuss, for me one of the most musically rich and satisfying periods of rock music, your years as an integral member of the Gary Moore band.
I hope to cover the time period starting with, the Victims of the Future, LP and tour , the Emerald Aisles documentary/performance video and ending with the only recorded media I have of the “After The War” tour, the 1989 Royal Ulster Hall concert, recorded in Belfast.
Since I am leaving out a huge part of your musical career, from the early days, through the Gilbert O’Sullivan sessions and then Wild Horses and UFO, I would love to concentrate on what for me, is the zenith of Neil Carter, journeyman rock musician and master of many instruments, your indelible stamp and multi-faceted contribution to in my opinion, the most brilliant of Gary’s lineups in his rock, then Celtic-Rock era.
I will number the questions to make it easier for us to communicate back and forth and by no means is this the final version of the interview.
I already have discovered that this numbering is difficult, so I will work on the construction of the questions and answers!!
As you mentioned to me, you had told Gary about receiving the DVD’s and CD’s of primarily the Wild Frontier live tour, but I also have some downloads of earlier shows , particularly around the time of the We Want Moore era. I will send these to you as well.
As we had discussed in the earlier e-mails, the post Wild Frontier recording, the subsequent tour was for you such a great memory and you were up front with the guitar, out from behind the keys, on vocals. Whereas the After The War tour, the focus was different, the songs, from what I have read Gary has said, he felt pressure from the management, ect., to break more into the mainstream rock market, particularly in the US, hence the Ozzy collaboration, using Cozy Powell, the mega-rockband drummer, ect.
All this is a preamble to the actual interview, which will admit Neil is my first attempt at such an effort, I have been writing about my music experiences and the technical side of music, guitars and amplifiers in particular for a few years and have had, I feel a quite successful go of it and for an old guy, 55, I have learned a few things.
My moving to London at age 11, in 1966 and experiencing the excitement of the music scene there, set the tone for my life, where I became involved in electronics, to a highly specialized level, then made a career change, to nursing and now I am in open heart surgery critical care nursing at the highest level, which is stressful, yet rewarding.
Enough about myself, I spent time back and forth between England and the US, returning to London in 1976 until 1983, when I left for the States again.
So I will begin the questions, I will modify all my preamble, ect., in a proper form for the finalized effort.
I also will separate the gear, technical questions from the other commentary.
It would give me the greatest of pleasure to have you include this interview on your own web site at some stage…. Also I am finding as I go here some things that I have out of sequence, ect and am correcting them, so hope to have my homework done
Ok then here we go…
1. Neil, you mentioned after your experiences with UFO, you were ready for a more stable, both musically and emotionally, experience with your career.
Also when the opportunity to join Gary’s band occurred, he was apprehensive hiring someone from such a nefarious group as, UFO, but you were in fact relieved to have more musical stability and be surrounded by a more professional environment.
So it all worked out. Could you explain the circumstances surrounding how you came to meet Gary and joining his band?
From the Tour programme of Victims of the Future, You are quoted as saying and this is for your reference.
With UFO behind him, Neil didn’t have to wait long before Gary Moore was in the blower talking auditions. “I tried out and it was great,” Neil enthuses. “I’m really enjoying working with Gary, he’s such a talented bloke and there’s loads to learn off him.
The new album’s marvelous, it’s one of the most powerful albums I’ve ever heard.
It’s real heavy , heavier than anything I did with UFO. And that’s the other great thing about Gary – he knows exactly what he wants and how to get it. After UFO being so slapdash, it’s marvelous to be with someone so positive and who isn’t drinking himself into the ground.
With UFO there was no continuity, sometimes it’s be great, other nights, especially towards the end, it was more likely to be the pits. With Gary you know the shows are gonna be of a certain consistently high standard. He never cheats the audience.”
2. Recording the LP Victims of the Future you contributed to the writing of Victims of the Future and Empty Rooms and Murder in the Skies.
This is the first appearance of Empty Rooms and you are playing keyboards and contributing backing vocals. The rhythm section on this LP was Neil Murray on bass and the great Ian Paice on drums.
Craig Gruber was the touring bassist though, not Neil Murray? But then Gruber left for personal reasons and Bob Daisley was on board
How was it working, recording and touring with that lineup?
Then the We Want Moore recordings took place
Then I believe the fantastic Emerald Aisles was filmed on the Irish leg of that tour.
This was the first experience of the band with the brilliant NFL films, who certainly took things to another whole level, with their professional camerawork and superb editing.
I have seen some clips from the year 1986 and sent you a video from Japan on tour in 1986.
I believe the second LP you recorded with Gary was Run For Cover, which to myself as a huge Gary Moore fan and sort of historian, to me, this LP was a combination of attempts to have Glenn Hughes do lead vocals. Gary also had recorded tracks with other keyboardists, including Andy Richards and Don Airey. You are featured as co-writer on the tracks, All Messed Up, and of course the incredible Empty Rooms.
I know that in later touring, you would play guitar and sing vocals on All Messed Up, which was a big crowd pleaser type tune.
I am curious as to the fact that on Empty Rooms on the LP sleeve, you are listed as backing vocals, but Andy Richards is the keyboardist!
Did Empty Rooms success as a single place it on the following album, I apologize, but I don’t have the answers..to why this occurred!
You did provide keys and backing vocals on Listen To Your Heartbeat, which to me were a highlight of that tune.
The fact that there were 5 different producers I believe, may have contributed to the confusion, as well as three different vocalists, three different drummers and three different keyboard players!!
As far as the rhythm section was concerned, there were various lineups for this album, including, Glenn Hughes on bass, Phil Lynott on certain tracks, including Military Man, Bob Daisley, who would become the regular bassist and various drummers.
Charlie Morgan, Paul Thompson (ex-Roxy Music), Gary Ferguson and the appearance of James ‘Jimbo’ Barton, who played sampled drums, which were to play such an integral part of the next studio LP, Wild Frontier. I get the impression that the Run For Cover was a combination of sessions and as Glenn Hughes, for various reasons, didn’t work out as bassist and vocalist, the touring lineup would be different.
The Live in ’85 tour followed next with some personnel changes. It is interesting to follow the band through the various clips, including some that I sent you.
The interval to the next album, the masterpiece Wild Frontier which Gary pretty much recorded with a drum machine and no live drums. To me this is where you assume more of a leadership role in the band Neil.
I suppose due to the revolving drum chair issue, at least the drummers weren’t exploding ala Spinal Tap !!, the majority of the drum track demos were done t Marcus Studio in London, with the Linn 9000. Roland Carridge ‘Reflex’ did some of the overdubs.
As a guitarist, this period brought about changes to Gary’s guitar lineup.
The Custom Shop Charvels he obtained from what I can ascertain in my research in 1986, the red rosewood board and the white maple board models, with the top mount Floyd Rose Tremolos, and single EMG pickups.
You had been playing Washburns earlier and the occasional Hamer, both excellent guitars. I am sort of ignorant of keyboards so I apologize for not detailing the models, I have the various models listed in the tour programmes.
I have read that Martin Prior was your keyboard/guitar tech at this time, and must compliment you on your excellent live keyboard and guitar tones!!
The mysterious Keith Page, who was Gary’s tech for the Wild Frontier tour, I can find no reference to on the internet, he seems to have disappeared off the map.
As you mentioned you would be getting together with Gary at some time, I have a whole load of questions for him, not too anorak about the live WF tour guitar tones, which from both of you are absolutely amazing..
I know that Gary’s main setup consisted of his amazing Marshall 1972 Super Bass, which had originally been repainted purple and Gary returned to traditional black, he also used two other 100 watt Marshall heads, each with a single 4X12”, the signal chain an Ibanez Tube Screamer, then a Roland 555 Space Echo connected to a volume pedal, then into a Roland SDE 3000 Digital delay and then into the magical Roland Dimension D. where the single is split into two stereo channels. During the Stockholm video, I can see Gary reaching over to adjust something to the right of Eric’s drum riser.
What monitoring did you have from all the various other instruments, on your keyboard side?
Again as I have told you the Live at Stockholm video, is actually one of my favourite concerts of all time. The superb audio recording, the great NFL films editing, ect.
Your playing and enthusiasm Neil certainly makes this show, and this is displayed through the whole show. I know that the band played “Shapes of Things” on many of the un-edited bootlegs I have from this tour and also on ‘Military Man’, another of my favorite tunes, Gary often improvises after the first softer solo. This is captured in film from the 1989 “After The War” show, which is spoiled for me by the constant audio problems Gary was undergoing during that live broadcast. Do you think the broadcasting efforts had something to do with those issues. His guitar tone has no sustain and from the beginning of the show is looking stage right to his tech. I don’t know if it was a monitor issue, but the guitar tone is dreadful, not Gary’s playing and I wish other shows had been filmed as that is the only video of my beloved Blood of Emeralds, that I possess, but I am jumping ahead a few years!!
On the WF Stockholm show, I’m sure it has been edited for time, ect.
I know that you enjoyed playing with Eric Singer as he is a fabulous drummer and well suited to the big arena rock stage. Also the amazing Bob Daisley, a great musician in his own right, who played with Gary’s band for quite a few years.
I have a question about the recording of the WF LP. How involved were you in that process? I am sensing Gary, post Phil’s death, had worked on these tunes, with the Linn drums. How much keyboards did you contribute, if any to this album?
The genesis of this incredible lineup is the touring unit that it became, the tightest most entertaining and multi-faceted band Gary has ever had imo!
That you would come out front for Shapes of Things and all All Messed Up, and your great backing vocals and guitar work on this tour.
To me being a fan, you still were so young Neil, but achieving great critical success and many, many Gary Moore/Neil Carter fans will tell you that this lineup is their favorite of all time!
That your voice melds so well with Gary, makes the interchange on the vocals a true joy!
The interplay between you and Gary and the communication that you both exhibit is absolutely amazing, just a nod or so and the band is off. I have to say of all of Gary’s keyboardists, your contribution and interplay with his guitar is on another whole level!
I realize the questions are few and far between, but I am trying something different here and not the usual boring question and answer format, which always leaves me, a fan with specialist knowledge frustrated as the interviewer always seems to ask questions or maybe their questions and answers are edited in such a way as to lose the focus and drive I am seeking in this experience!
Personally I am excited to obtain inside knowledge of one of my all time favorite bands and gain an insight into some of your thoughts and feelings about these times.
I know when Gary made the decision to go in the blues direction, which was certainly successful for him, that was not an area that you cared to go into, I have read.
The After The War recording and tour, gave me the sense of the end of an era. As I mentioned previously, Gary’s pressure to get more commercial rock exposure from management and the record company and the Sharon/Don Arden management certainly had something to do with it.
Can you detail some of the background of the After The War LP recording. I have read that you were inspired to write Blood of Emeralds whilst in Dublin.
I have to say that Gary’s Celtic rock inspired songs are amongst my favorites.
The way I understand it is that you came up with the music and melody for BoE and then Gary added his autobiographical lyrics, or was the song a collaboration of a more close nature?
I know that in his writing of WF, the Celtic influenced songs, was an exciting direction for Gary and, the whole tribute to the loss of what could have been with Phil Lynott, is so sad, yet the melodies are so strong and the guitar playing, a whole new level for Gary, displaying a power, he had only hinted at before..
I must tell you that the beautiful melody of Empty Rooms and more so Blood of Emeralds, which brings tears literally to my eyes, every single time I hear it, the power and emotion, the incredible loss and sadness, encapsulated in such a haunting melody of beauty, which, though I love Black Rose very much, Blood of Emeralds is a masterpiece work.
Your unique contribution to what is my favorite Gary Moore band era, is what makes the difference.
As much as I enjoy Still Got The Blues, After Hours and the superb tribute Blues For Greeny, the 1984-89 era is absolutely classic.
Such a shame that Virgin doesn’t place Emerald Aisles and Live in Stockholm on DVD, with remastered sound and extras is a shame as many, many fans want this.
Last year a Japanese friend I have was able to obtain for me a Maxon ST-01 Super Tube Screamer, which I have thought for some time may have been, or the Ibanez version, an integral part of the great WF guitar tone. It’s the tone with the gain set just on the brink of feeding back, such as on the extended opening of Over The Hills and Far Away and also the Loner, where your keys make the song as enjoyable as it is and such an improvement over the earlier Cozy Powell album version.
As the Wild Frontier era was one of your favourites , this time period until the After The War recording and final tour are what fascinates me the most.
I apologize for the disjointedness of this so far.
I do feel a connection to be able to meld an interesting interview of memories that you and perhaps Gary have of those times, to document one of rocks classic lineups and not to discredit the earlier politically brave songs that Gary wrote like Murder in the Skies and Victims of the Future.. The consistently high standard of writing and playing exhibited in those years will never be matched again, I feel.
So let me know your thoughts Neil, as I say, this is a fluid work in progress and I have tried to research as best I can the chronology and facts, ect.
Yes, I enjoy the technical nature of the writing and touring, but the human side behind the music, interests me as much.
I can’t tell you how happy I was to hear that you were to watch the videos with Gary again, that brings joy to me as a fan as those were great times and being a long time supporter of Gary as well, he has gone through so many rough times recently, especially, unfortunately from my side of the pond. Just let him know many of us believe in his integrity and commitment as a musician, still to this day. A few years back I tried to contact Gary through Graham Lilley, which I feel didn’t even reach Gary himself.
I feel that my concept of the happy and sad times of the GM band featuring Neil Carter, is the focus of my interview.
That Neil Carter is the ingredient that is most important, cannot be overstated and I mean this most sincerely Neil.
I wanted to send you some rough thoughts I have and look things over and then give me some feedback and I can firm up a more formal interview, if needed.
Also since I transferred all my rare VHS tapes to DVD, if Gary wants any copies as I also have his An Evening of the Blues, Blues Alive, The Jack Bruce 50th Birthday show, and Blues For Greeny, if he would like them on DVD format!!
Let me know your thoughts Neil and I’ll work some more in this and as I said, would be honored to have your input and will make a great addition for your web page as well!!
Thanks Neil
Dave
Phoenix,Az. USA 23/09/09
Neil Carter, the unsung hero of the Gary Moore Band's greatest years
Without a doubt, as one who has studied the music of Gary Moore from quite early on in his career, the introduction of the multi-talented Neil Carter to Moore's rock band lineups, was indeed the catalyst for some of the finest and most enduring musical milestones in this phase of Gary's career. That Neil would unselfishly contribute his dynamic writing, playing abilities and performances, being such a gifted one in all these areas, truly is the mark of a great musician. To me the zenith of this collaboration, was the "Wild Frontier" era, even though Neil's actual contributions to the recorded album are not as substantial as other of Gary's albums, this LP and to a great deal as well, the "After The War" album, are standouts to me, though earlier albums have Moore/Carter compositions that are just as great.
Recently Neil was kind enough to contribute some of his valuable time to answer some questions, about this time frame and the demise as it turned out of Gary's rock era. What I have personally learned from Neil as a writer, is to place oneself somewhat apart from the subject, and to not make assumptions, no matter how well informed! To the true dyed in the wool Moore fan, the guitar, keyboard and vox contributions from Neil, contribute that final percentage of magic. This really brought out the best in the bands leader. Certainly Neil has had a well rounded rock music career and would be successful no matter what group he contributed to, but the magic elixir that is Carter and Moore, cannot be denied...
Let's start with the leaving of UFO and your call from Gary, asking you to audition/join his band. How did it feel to suddenly be in the presence of a much more organized creative musical experience?
It was very refreshing and also to get the chance to play with Ian Paice was quite a pull for me. Initially I was just going to do the US tour supporting Def Leppard but I got on well with Gary and stayed for quite a long time as it turned out! The main difference was that UFO was very much perceived as a band and I felt, initially, rather uncomfortable with being part of what could have been interpreted as a "backing group". A bit of the old UFO ego coming to the surface! However my initial fears were groundless as in reality it never felt totally like that. What was a bit strange was playing third on the bill to Def Leppard when they had, 2 years prior to that, supported UFO and 5 years before carried my amps into a gig in Sheffield when I was with Wild Horses. But I thought "if Ian can rise above this, I can"!
Gary had already recorded "Corridors Of Power" when you joined and you contributed to the writing of "Victims Of The Future". Can you describe what it was like to first of all write with Gary and then transferring that to the recording process?
Gary was always keen to get ideas for songs and I actually was the most involved with the recording process of that album, more than any of the others. I had a load of unused riffs and ideas so it was good having someone to "bounce off" like that. We worked the ideas into basic song format and then Gary went away and wrote lyrics. I don’t think we did that many demos for that album, but I could be wrong.
You have said that "Empty Rooms" was a work in progress when you joined Gary's band, can you recount when you first had the genesis for the beautiful melody of this song?
I had only really written the bare bones of it and my input was to the chord structure and mood, I wrote it in a hotel room in Texas if I remember rightly! The version I have from the UFO times sounds quite like it in some ways but Gary must take full credit for the melody and overall finish on that one!
I am interested in the time frame from "Victims Of The Future" to "Run For Cover". Did Gary's working with Phil Lynott in a way, plus his experimentation with Glenn Hughes as lead vocalist, plus the multiple producers, and other players, contribute to what I feel to be Gary's least cohesive LP of that era?
Hmmm. I suppose it was a touch fragmented and perhaps there was a bit of ‘direction finding’ involved. He hit gold with Peter Collins though and I think the best work is with him by far. I liked the rerecorded Empty Rooms, sadly the Glenn Hughes vocal is in a vault somewhere. I wish I’d had the foresight to take a copy home!
Also Andy Richards playing keys on the version of "Empty Rooms" on "Run For Cover", how did that happen?
The connection with Andy came through Peter Collins I think, he used a Fairlight and there was lots of "fairy dust" courtesy of him. I think they were keen to use as much of the new technology as they could so he did the "expensive" keyboard parts. He worked a lot with the Pet Shop Boys who were sort of ‘cutting edge’ with keyboards etc. and Gary wanted a bit of that.
By what time period did you feel the completion of the core group of Gary's band, with different drummers and then no drummer at all on "Wild Frontier"?
Actually around the aftermath of "Run for Cover" and the tour that followed it. Bob had become a regular feature but we still could never quite settle on a drummer. They always seemed to come and go. The best all round was probably Gary Ferguson although he only did one tour.
It is my impression that once the band consisting of yourself, Bob Daisley, Eric Singer and Gary was finalized, that band lineup never recorded another album post the touring for "Wild Frontier", and that after that long tour, this band was ready to do such a fantastic album it would seem, again what happened post the Wild Frontier tour and again the gap to "After The War"?
I look back on it and there were always flaws with each drummer, hard to believe but there were. Gary was always a stickler for tempos and the maintaining of them. Drummers can speed up and slow down, there are numerous examples in the live material, and in the studio it became very frustrating. So the sampled drums were the answer. I am still to this day actuely aware of this and my poor kids at school, particularly the drummers in our Big Band get hell from me if the tempo shifts! Mind you it hasn’t harmed any of them through the last 15 years. Therefore when it came to "After The War" we used machines and by the time we toured I think Eric was busy or it was felt that a new guy would be the best way forward. This all goes against the ethos of laying backing tracks as a band, rather strange that nowadays the nature of Gary’s music is more feel based. The one with the best feel was actually Bobby Chouinard but unfortunately he was the one who was a wee bit unreliable and something of a loose cannon. But also an entertaining character!
I am not aware of the circumstances surrounding the recording of "After The War", other than I had read you regretted Eric Singer, either not being available or Gary's reuniting with Cozy Powell, as somewhat of a disappointment for you personally.
Yes, I wasn’t a great Cozy fan (quite a lot of baggage there) and I liked Eric a lot as a person. He was always really easy to work with and very funny. I think he is a real "stadium rock" drummer but not cocky with it which is probably why people like Alice Cooper and Kiss have him around to this day. A very genuine guy.
I have read other books, especially on Black Sabbath, where Cozy became quite involved with the production of the records he was asked to play on. What were your feelings Neil, after the huge success of the WF lineup and the sheer ability and power of that band, and then it seemed another cut and paste type effort during the recording of "After The War"?
I liked that way of working to be honest and live/studio situations were always quite separate entities. Initially it was Gary, myself and the drum guy (whose name eludes me) in Denmark recording the basic tracks. Although not all were done there and Gary did some stuff when I wasn’t around. He has always been his own man so there are tracks along the years that I had little or absolutely no input to.
I have read that you wrote your contribution to "Blood Of Emeralds" in Dublin. How was the song writing collaboration between you and Gary working by that time?
Actually I wrote the basis of that at home during a break from touring and then Gary and I played around with it. We did a lot of demoing in Dublin though and spent a number of weeks working on material. Gary was doing a tax year out of the UK so I was commuting between home and Ireland each week. That was a really nice time. I always used to give Gary tapes of song ideas and he would sift through them, picking out riffs he liked or even moods and then formulate them into a song idea. We rarely sat down and said ‘let’s write a song’ it never really worked like that. But we did bounce a lot of ideas around on After the War, more so than any other album. I really loved the ‘celtic rock’ thing and Dublin was the ideal place to do it, obviously.
Eric Singer is a key to the tightness of that lineup, with Bob Daisley and this solid rhythm section, I'm sure allowed you and Gary, greater freedom to concentrate on the vocals, rhythm guitars and keys, than with the other lineups.
Well yes, it was very powerful certainly. I think the roles were becoming more established and the splitting of vocals was good as it provided variety and gave Gary chance to play without being lassoed to the mic.
Was the "Wild Frontier" album fairly complete in many aspects once you became involved with it?
Yes, my contribution is probably the least on that although I am there somewhere! I would need to jog my memory and listen to it! I mainly did backing vocals and some keyboards. The "big" tracks were done with "expensive keyboards" so Andy was used a lot. To this day I have never met him!
The similarities of yours and Gary's voices, certainly worked well on tunes like "Shapes Of Things", "Rockin' Every Night", ect. What kind of experience was it playing guitar on stage with a player of Gary's stature?
It helped to confirm my inability to play lead! No in all honesty I am a competent rhythm player and am quite "solid" in my very basic ability so it suited that sound. To play with someone like Gary is inspirational and he injects so many different colours into his playing. I never once saw him play under par, he always delivered the goods! It was fortunate our voices were similar and I did enjoy singing, always have, and the only thing I truly miss about my old life is that I never sing these days which is a pity.
It is my personal feeling , as I have mentioned before, that the "Wild Frontier" lineup could have carried on to make an incredible record and Gary certainly hadn't said it all with the Celtic rock approach. From interviews I have read with Gary, he states management and producers were forcing him to take a more broad based approach to the material for "After The War" and obviously the same enthusiasm, he does not show live for that tour compared with the 1987 "Wild Frontier" era. What are your thoughts regarding all of this?
You know I don’t remember it being like that, but a lot of time has elapsed. I am aware that he was fed up with the stuff we were doing and wanted a change so that may have come across. I didn’t enjoy that tour as much for sure mainly because I was playing keyboards so much and felt a bit "restricted" on stage. Also I never felt the "kick" playing with Chris Slade that I got from Eric or Gary Ferguson or even Paul Thompson who wasn’t a heavy drummer really. The "show" looked good but perhaps the energy was less than 100%.
On the technical side, you were playing Hamer and Washburn guitars, were you also using Marshall amplification?
Yes always Marshall 50 amps and 4x12" cabinets. On the "After The War" tour I used a Les Paul that Gary gave me for my 30th birthday.
The circumstances surrounding the live video of the Stockholm show are of great interest to many fans, still to this day. Do you feel that the video accurately captured the band at their best?
It did yes although it was a "one hit" so there was a lot of pressure to get it right. It captured the time and place really well and the crowd reaction, venue and material are all spot on. It’s good and I can look at it without cringing. I can quite say the same about the Emerald Aisles one….those outfits!
In particular the keyboard parts you developed for the material from the "Wild Frontier" album and the earlier songs, add so much dynamics to the arrangements, that these are the definitive versions of all these songs, in my opinion, Empty Rooms included. Also your enthusiasm adds greatly to the video, were you enjoying it as much as it appears?
Without a doubt. I loved that size crowd and the electricity of that night is really well captured. It’s quite sophisticated for its time and we were playing well as a unit. It also has a real feeling of, dare I say, success. I have a "taken from the audience" DVD from Milton Keynes and I look like I am really having a ball on that one. Natural enthusiasm I suppose and a desire to please! I still have it. (just).
As far as Gary's guitar setup for the WF tour, the voicing of his guitar, both for lead playing and rhythm, is strikingly different than his earlier live rig.
I know he was using the same amplification arrangement as on earlier tours, with his '72 Super Bass, as the main amp, feeding several other 100 watt Marshall heads.
The use of the active electronic EMG pickups and the Floyd Rose tremolo systems, certainly helped to shape this voice. As a fellow guitarist, what do you think was maybe a secret to the amazing tone he got on that tour, particularly on the live video?
Actually he does have quite a different sound on that video. It suited the material really well, especially "Thunder Rising" which is great on the video. Secret...hmmmm not sure on that one although he had a really clear vision of how the tone should sit with the songs. It is very stylish and has a unique quality.
As a fan of yourself and Gary, Neil, one can't help but feel some sadness and regret that what was such a powerful , certainly live lineup, couldn't have carried on in the same vein.
Do you feel that Gary, perhaps, was "burned out", by the constant touring and pressure to top the previous albums?
Well yes, also perhaps a desire to get back to the roots, a wise move as it turned out, and not to repeat yourself again and again. I had been with him a long time by 1989 and perhaps we had run our course creatively. I didn’t really give it a lot of thought at the time of the tour but in hindsight it was obvious something had to change for him.
I know that when Gary made the decision to develop the blues band concept, that you weren't particularly interested in this. Were you invited to join at first?
No, and I don’t blame him for not including me as I was a less than enthusiastic when they had their blues jamathons at sound checks. It really isn’t my sort of music although it’s enjoyable in small doses and I appreciate how well Gary does it and how a part of him it is. I like a lot of the songs Gary has done since but like I say, in small doses.
Post the last LP and tour with Gary, what musical projects were you involved in?
Bob and I did some work with a young guitarist managed by Peter Grant, I know his name was Tommy and he may still be playing today for all I know. I did some London theatre work as a favour to a friend and spent a lot of time writing and did some demos. I explain on my website that the "epiphany" came one day when I sat at the publishers playing some stuff I had recorded and looked at the banks and banks of tapes he had. It was obvious that without a vehicle nothing was going to happen and I thought, "that’s it!" I had no idea how life would progress from there at that point.
It appears that it gives you great satisfaction to be able to pass on to future generations your love and talent for music and your work at Brighton College, must certainly be applauded. How did you get involved in playing woodwinds?
My principal instrument at school had been the clarinet and prior to my going down the "evil path" I had been offered a place for further study on it. But to my parents horror I jacked it all in to become a rock musician. So when I stopped all that my partner who is a harpist suggested I do a few lesson to busy myself. Typically me I plunged into it in a big way and went back and gained my qualifications. It wasn’t necessary that I did that but teaching somewhere like Brighton College which is currently "the" independent school in our part of England it is expected. Also I am great one for having a "goal" to achieve. Now I teach clarinet/saxophone and am full time Head of Woodwind and Brass at the College doing a wide variety of things.
David Talkin (October 2009)
Dave goes by the forum name Emerald in The Lord Of The Strings Fan Forum, is also know as yngwie308 on most other music internet forums.
He has his own personal web blog: http://www.daveonrock.com and recently has become a major contributor to the website http://www.vintagewashburn.com. Also he has written about the music of Tommy Bolin for BSM Treble Boosters. Gary Moore has remained one of his strongest influences, right alongside, Jimi Hendrix, Jeff Beck and the masterful Peter Green.
• Login to post comments
© 2007-2012 garymoorefc.com
Lot's of SS projects on the back burner at the moment but soon when I have the time and financial stability will post all my GM stuff.
For example when I did the Neil Carter interview i sent Neil dubs on DVD from all my GM VHS tapes and bootleg CD's.
Neil told me that when they got together at Neil's house in Brighton, the ideas came up to return to the Celtic rock era material and Gary became inspired as they watched my media material together.
Then later post the last tour in 2010, Neil told me that my DVD's were instrumental in their band rehearsals as they had no VHS players and they used my DVD's for reference to remember the songs!
You don't know how much that meant to me...it was a dream come true and as a dyed in the wool GM fan from the start, my hopes and prayers to hear all those great songs again plus the 4 new songs, I was in nirvana.
I will tell the whole story here on Rig_Talk when I get time.
Neil got Gary to sign a promo poster from the After The War era with the late great Cozy Powell in the picture. Neil signed it and got Gary to especially sign it for me and post it to me from England.
Kinda had a role in Gary Moore getting on board with the Melvyn Frank's Collectors Choice #1 guitars. Gary's tech and apparent manager Graham Lilley's mum had died so he wasn't checking his emails.
The Gibson Custom Shop was urgently trying to reach Gary on his tour to sign off on these PG/GM Greeny replicas. So through the help of the webmaster of the LOTS forum Zoltan from Hungary we managed to reach Gary's tour manager and Gary approved the replicas, both the VOS and the Murphy aged versions.
These were sold with out the COA's, which Gary later signed and they were sent to the original buyers.
In a recent meeting with Micheal McGregor Charvel product manager (well in May) and Fender's PR guy on another matter, since Gary's two 1986 constructed Charvel Strat heads which were never built at San Dimas as they eventually appeared, these guys had never ever heard of Gary's guitars, even though he was featured in a Jackson ad in the eighties showing him playing his white Soloist!
Keith Page, Gary's guitar tech put those two guitars together from various Charvel's that Gary had purchased previously.
We are discussing the white/ maple board version with the Strat pick guard and the single EMG 81 and top mount OFR. Also the red rosewood board with similar layout. The white Charvel has a body colored headstock and a black anodized R2 nut with otherwise chrome hardware. This guitar has a double hum bucker route under the Strat style pick guard, which contributes to the resonance of the guitar.
I have researched all the previous Charvel's that Gary had and which ones were donors to make these two incredible Super Strat's that Gary used from 1986 onwards.
The Stockholm Isstadion concert, one of the finest live stadium shows ever recorded imo features these two incredible guitars in their finest moments.
I have done intense Gary Moore equipment research since the early eighties and get lots of requests from all over the net about Gary's equipment.
I have done a similar effort with Steve Stevens and Yngwie.
One day my own book will come out featuring all these guitarists, including Rory Gallagher and this is on my bucket list of projects.
Unfortunately I could not afford to continue my blog Daveonrock, but have saved the content.
I think I will kick off a GM appreciation thread here when I get time.
I saw your new avatar and thought, let me clue Kage in on all my mega GM stuff that I have collected and written about!!
The most incredible feat by Gary on the last tour in 2010, is his use of the LP's exclusively and his adaptation of the previous Charvel/Hamer OFR material with a fixed bridge Les Paul.
The best playing of that tour came about towards the end of the tour as they extended dates in the Ukraine.
Gary is playing so sublimely and his singing is so soulful that it appears as if he almost knew this would be the last.
BTW here is my Tommy Bolin article about his career concentrating on his equipment commissioned by BSM Treble Boosters to celebrate their exceptional Spectrum pedal
http://www.treblebooster.net/bolin.html
Here is my long thread when the 2010 (final) tour started and I was Gary's biggest cheerleader, hope these aren't locked here without membership!
http://www.lespaulforum.com/forum/showt ... p?t=168213
http://www.lespaulforum.com/forum/showt ... p?t=155599
http://www.lespaulforum.com/forum/showt ... p?t=164756
http://www.lespaulforum.com/forum/showt ... p?t=173268
http://www.lespaulforum.com/forum/showt ... p?t=173240
http://www.lespaulforum.com/forum/showt ... p?t=179943
http://www.mylespaul.com/forums/search. ... id=6976451
http://www.mylespaul.com/forums/search. ... =25&page=2
http://www.mylespaul.com/forums/search. ... =25&page=3
http://www.mylespaul.com/forums/search. ... =25&page=4
http://www.mylespaul.com/forums/search. ... =25&page=5
http://www.mylespaul.com/forums/search. ... =25&page=6
http://www.mylespaul.com/forums/search. ... =25&page=7
Sorry for the bombardment but you guys are getting me excited about Gary again!!
Thanks for reading
Emerald
Atomic Playboy
New member
For a few years I posted on the Gary Moore Fan Club Forum, "Lord Of The Strings". I am still a member, but the small fan base and disinterest from Gary himself, discouraged many of us hardcore Gary Moore fans.
I wrote a lot about the fact that Gary provided the soundtrack to a major part of my growing up as a guitarist. I even spoke with the great Neil Carter, who co-wrote many of Gary's most powerful and beautiful songs.
Empty Rooms, The Loner, Out In The Fields, Military Man (Phil Lynott),Johnny Boy, Blood of Emeralds, The earlier period with End of the World, Nuclear Attack, Always Gonna Love You, Cold Hearted. His amazing version of Shapes of Things, which Jeff Beck says that he likes.
I found that Gary was a role model in terms of technique and the right way to play. He is/was a stickler for playing in tune and George Harrison, who played with Gary for his last public performance on While My Guitar Gently Weeps, said that Gary had perfect pitch when he bent a note, and that he had never heard anyone with the ability that Gary had to be in tune. That has always been a trademark for us Moore fans, Gary's whole step and even two step bends and he falls back right on to the root note, it is uncanny.
On the Roy Buchanan song "The Messiah Will Come Again" I think Gary does a great job. He really almost channels Roy's atonal bends and gets the feeling of the piece. Roy had a tortured soul and Gary takes us to that uncomfortable place with his playing, taking chances. That certainly isn't a song for the faint hearted to attempt to play.
I found that Gary always was on top of the latest gear, had the coolest guitars, because he found ones that he really could play well and showcase his abilities. I even found my gauge of strings through Gary back then, Light Top Heavy Bottom, Dean Markley's 0.10 thru 0.52.
So I would say that Gary has contributed much moore to our guitar music anthology then we might realize
Emerald
I wrote a lot about the fact that Gary provided the soundtrack to a major part of my growing up as a guitarist. I even spoke with the great Neil Carter, who co-wrote many of Gary's most powerful and beautiful songs.
Empty Rooms, The Loner, Out In The Fields, Military Man (Phil Lynott),Johnny Boy, Blood of Emeralds, The earlier period with End of the World, Nuclear Attack, Always Gonna Love You, Cold Hearted. His amazing version of Shapes of Things, which Jeff Beck says that he likes.
I found that Gary was a role model in terms of technique and the right way to play. He is/was a stickler for playing in tune and George Harrison, who played with Gary for his last public performance on While My Guitar Gently Weeps, said that Gary had perfect pitch when he bent a note, and that he had never heard anyone with the ability that Gary had to be in tune. That has always been a trademark for us Moore fans, Gary's whole step and even two step bends and he falls back right on to the root note, it is uncanny.
On the Roy Buchanan song "The Messiah Will Come Again" I think Gary does a great job. He really almost channels Roy's atonal bends and gets the feeling of the piece. Roy had a tortured soul and Gary takes us to that uncomfortable place with his playing, taking chances. That certainly isn't a song for the faint hearted to attempt to play.
I found that Gary always was on top of the latest gear, had the coolest guitars, because he found ones that he really could play well and showcase his abilities. I even found my gauge of strings through Gary back then, Light Top Heavy Bottom, Dean Markley's 0.10 thru 0.52.
So I would say that Gary has contributed much moore to our guitar music anthology then we might realize
Emerald
Atomic Playboy
New member
Dave On Rock
________________________________________
Wild Frontier Stockholm Concert Issued on DVD/CD
March 12th, 2011
MI, that seems to remind me of a certain Sex Pistols song, which is surprisingly appropos.. -
Anyway there had been hope that Virgin now sold to EMI would release the world famous Isstadion, Stockholm show of April 25th 1987 filmed by NFL Films and one of the greatest live shows every captured on tape imo and surprise it will be out in May with extended versions of the Loner, up to 17 minutes and Rocking Every Night, which I could have done without, hoping for Gary’s amazing version of Shapes of Things, from the same show, but it is what is.
I’m sure Gary’s management has no control over the rights in this case.
We fans had been petitioning on Facebook for a 25th Anniversary release next year before Gary’s untimely passing.
It had been hoped that the DVD format would allow the entire show and original set list, plus perhaps interviews with the original band mates, ect.
That would have been the ideal ultimate fans release, but I fear this is the start of knee jerk releases of Gary’s material without any real attention to detail or extras.
I am grateful for it’s release though as many new GM fans will be able to hear and see Gary at the absolute zenith of his Celtic rock era and his mastery of the Charvel Super Strat with his huge Marshall live set up and his Roland outboard gear.
I am having a German fan translate a long lost interview with the elusive Keith Page, who had been a guitar tech with Thin Lizzy and was Gary’s tech from the 1985-89 rock period. So far I have learned that a ST-10 Tubescreamer was used as a preamp first in line with a volume pedal, the start of a signal chain that included the Dimension D, the Chorus/Echo SRE-555 and the digital delay SDD-3000.
Gary’s awesome 1972 1992 Super Bass was the cornerstone of his rock era sound since the early eighties, slaving off to two other 100 Super Lead heads in the 1987 era, each head with it’s own Marshall 4X12″.
Gary’s playing and tone are on fire at this show and the excellently recorded live sound, mixed by the master Chris ‘Privett” Hedge is incredible.
The production values and editing by NFL Films is second to none.
The top mount Original Floyd Rose equipped single bridge EMG 81 Charvels, deliver an incredible stadium rock sound. Plus the brilliant Neil Carter on keys and second guitar, vocals, the master Bob Daisley on bass and the awesome Eric Singer on drums, makes for a real treat for the fan.
The release includes the show in CD and the DVD.
http://www.garymoorefc.com/en/news_stockholm_dvd
Also the Ballads and Blues 1982-94 VHS tape is available on the same CD/DVD format, with an additional commentary by Gary himself, plus some guitar playing extras, not seen before:
http://www.garymoorefc.com/en/news_balladsandblues_dvd
The Live at Montreux 2010 DVD/Bluray is set for release on May 30th and will highlight just how well Gary was playing right up until the end, his singing still strong, though his health is obviously in bad shape even to a non-medical person watching.
But fans will be able to see a pro-shot and recorded video of this last tour which ended in the Ukraine, Gary went on his first day of holiday and then……
Sadly their may only exist rough studio demos or rehearsal tapes of the three new songs for the Celtic Rock album that was to be recorded right after Gary’s ill-fated vacation.
Gary’s use of a fixed bridge Les Paul on the Wild Frontier and After The War tunes that were recorded with a Floyd Rose eguipped guitar only goes to demonstrate his mastery of the guitar. Using vibrato to substitute for a bar, he provides a master class in playing adaptability.
Great tone with his big pedal board and Marshall 1959HW Super Leads, for me personally I had an ominous feeling watching all the boot videos from this tour that Gary once he had immersed himself in the sad times and material following the death of his great friend and musical collaborator Phillip Lynott, it seemed almost a farewell from Gary in my mind and eyes.
He seemed to be pushing himself through this grueling tour, even adding on the last Ukraine dates.
Please read my interview prior to the inception of the tour and his reuniting with Gary, where Neil Carter, responsible for helping in producing arguably Gary’s finest work, discussed with me his feelings about those years, which were musical high points to him as well. http://www.neilcarter.org
http://www.garymoorefc.com/en/news_dvd2011
The setlist:
6th – Montreux Jazz Festival, Auditorium Stravinski, Montreux, Switzerland
Intro: Dunluce (Part 2)
Over The Hills And Far Away
Thunder Rising
Military Man
Days Of Heroes
Where Are You Now?
So Far Away / Empty Rooms
Oh Wild One
Blood Of Emeralds
Out In The Fields
Still Got The Blues
Walking By Myself
Johnny Boy (Encore 1)
Parisienne Walkways (Encore 2)
http://www.garymoorefc.com/en/media_magazines
Here are the few guitar equipment sections I finished prior to Gary’s death, still to come, Fender, Gibson, Charvel/Jackson:
http://www.garymoorefc.com/en/guitars_heritage
http://www.garymoorefc.com/en/guitars_hamer
Pictures from the last tour:
https://s57.photobucket.com/albums/g219/ ... 1QQtppZZ36
I had hoped to write an autobiography of Gary a few years back, but my inquiry only went as far as Graham Lilley, his guitar tech/svengali and I’m positive Gary never saw my request.
I did manage to arrange Gary’s involvement with Gibson’s Custom Shop concerning the Collectors Series Melvyn Franks Greeny guitar replicas, Gary finally being reached while on tour, through my communications with Zoli the webmaster on the Lord of The Strings site, he was able to reach Gary’s tour manager, as Graham Lilley’s mom had died and he hadn’t seen the frantic emails from Gibson as they were releasing the Greeny replica. Fortunately Gary came on board, at least for the Tom Murphy aged versions, though they were shipped with out the COA’s signed by Gary, he was able to provide the signed documents eventually.
Gary got the first two aged GM replica #001 and #002, even over Melvyn Franks, who was provided with another aged GM actually with the guitar signed by Gary and another guitar with #001!
Gary can be seen using the aged reissue on the song Parisienne Walkways and it sounds incredible in his hands.
Also quite awhile back Neil Carter, whom I have become friends with, was sent a whole GM media pack by me, with dubs to DVD of all my GM VHS material and live boot CD’s, Neil told me he would be watching them with Gary as they lived not very far apart in Brighton and hopefully this experience provided the spark to rekindle the collaboration of these two again, I would like to think!
Zoli arranged for Neil and Gary to sign a rare promo picture from the ATW tour featuring the late Cozy Powell, who played on the album, with an injury on a motorbike prohibiting his participation in the tour, his place taken by Chris Slade ex AC/DC.
Neil mailed me the photo which he signed “To Dave” and Gary signed it as well, I will treasure it forever.
I still plan on doing a very in-depth writing project on this incredible man and musician, Gary Moore, who influenced me as much as Hendrix, Jeff Beck, Peter Green, Clapton, Steve Stevens and Yngwie.
Here is a great Celtic influenced improv from Gary in Russia, dedicated to Ireland from 2007:
This documentary on Gary was finished before his death and hopefully will be released again:
https://www.youtube.com/watch?v=RICdnWNSiOs
Dave
Posted in Uncategorized | Comments Off
Gary Moore – Blood of Emeralds
March 7th, 2011
The last tour of Gary Moore when he reunited with old band mate Neil Carter was such a joy and inspiration to me, that for all of this to end before the Celtic rock album could even be recorded is also a tragedy beyond measure.
On The Les Paul Forum, I endured mocking, slanderous attacks on Gary and his character, even a lawsuit, but I stuck to my faithful support of my hero from Belfast.
Here are excerpts, I am Emerald on that forum, others may know me as yngwie308, that was my moniker on most of the internet forums:
I emailed Neil Carter yesterday with my condolences, he said things are all still somewhat surreal and it is a lot to take in.
Gary had been the greatest guitar influence in my life and I learned so much from him, he was a independent as was Rory Gallagher.
Gary’s playing had never sounded better on the last tour and I am proud of the fact that I steadfastly defended him through all these attacks on his character, appearance, ect.
Many were unfortunately on this forum I am sad to say, so those who said such things, any words of sorrow are hollow.
Gary was reliving a very sad era in his life, the time post 1986 where we lost the great Phil Lynott, I recall Gary was on holiday when he learned of Phillip’s death.
This is a tragedy of immense proportions, the same to me as when Jimi Hendrix died or Tommy Bolin.
Just very sad, he leaves an immense legacy and Gary was much moore than just a Les Paul player.
He played many styles and was a huge influence on a whole generation of players.
His perfect pitch in 2 1/2 step bends and his great vibrato, note choice, his great skill at thematic solos and his singing which had improved incredibly over the years.
I want to do justice to the influence Gary has made on guitarists and music in general, but am much too sad to do a proper job at the moment.
For now Gary was the guitarists guitarist, there is no doubt and he always stressed the importance of being in tune and always gave all in his live performances.
He was a real person, didn’t act like a star, but when he spoke it was from the heart and sincere, just like his playing.
There will never be another like him, the forty shades of green are calling him back…Gary built his career on sheer talent and hard work, God Bless him and his family, now Phil is back by his side and Rory too.
Loved him very much, I will mourn him the rest of my life, still stunned by the news, it hasn’t sunk in yet, but as it does, I am sadder. Gary’s playing easily brought tears to my eyes and now the tears are often.
Emerald
Thank you Lily, this is a great gesture on behalf of LPF.
Here is the thread on Gary’s last tour I started in the Crossroads section:
Thank you for your kind words all you Gary Moore fans, we all mourn together, his impact wil live on forever in the hearts and minds of many everywhere….
Here is the brilliant version of Parisienne Walkways from Montreux on the 001 GM/MF’s aged Les Paul, can’t wait for the official DVD due in March still as far as I know now:
https://www.youtube.com/watch?v=M0U0y9Sh ... L&videos=0–c223ewCw&feature=recentlik
https://www.youtube.com/watch?v=hQMLpwSE ... re=related
Emerald
http://www.lespaulforum.com/forum/showt ... p?t=173268
http://www.lespaulforum.com/forum/showt ... p?t=168213
Gary Moore’s Planned Return To His Celtic Roots Project
December 28th, 2009
Having completed my interview recently with Neil Carter, the emphasis of the material covered Wild Frontier and After The War…the Wild Frontier lineup was one of Gary’s most cohesive bands and made powerful material that was dynamite live.
The power of those songs, especially live, sans Linn drums and Fairlight, ect., hasn’t been matched since imo. Then After The War, Dunluce and the emotional Blood of Emeralds are the highlights for me.
Gary’s music has always had a message and a personal statement, since the first albums of the early eighties.
I personally love Celtic music, my grandmother was born in Belfast and I have distant relationship to the Moore's in Northern Ireland from that area, irregardless, the power and beauty and yes, spirituality of Irish music is a powerful, yet extremely pure, surprisingly complex in composition pure ancient form of music.
The songs from Wild Frontier and Blood of Emeralds have great personal meaning to me, yet Still Got The Blues, is my wifes favorite era of Gary’s music, she loves the blues ballads and Gary’s emotive singing.
It’s not over for Gary with that chapter of Gary’s life, I knew it wasn’t. The majority of After The War, was I feel dictated as Gary has told, by the record company and his management at the time.
I am not a huge Graham Lilley fan, it must be said, now I’ve said it.. , for various reasons, but Gary has been attacked here in the States, not to go off topic again in this thread, but I have come under great personal attacks as a swell headed fanboy..
The ‘controversy over the Stripe guitar, seemingly precluding Gary from ever darkening the US shores again.
Whatever people may say, and I am ashamed of many of my fellow Americans for the particularly nasty threads in for example The Les Paul Forum, ect.
Gary will rise above this and he still only ever shows some of his arsenal, Gary keeps so much in reserve for someone who allegedly ‘overplays’ on a regular basis. I have established it is pure jealousy on these individuals behalf.
Gary has mastered many, many forms of guitar music. For me the Celtic rock period was the zenith of Gary’s rock based, high amplification, Floyd Rose Tremelo based guitar playing. After going the LP/Blues route, the Monstrosities of Rock DVD, still makes me cringe, Gary has the wrong, hostile audience and we know how that makes him react.. and when he plays the WF songs on a fixed bridge guitar, I mean “Out In The Fields”, it was hard for him even, as he admitted in the extra commentary, to nail the solos as he had done in 1987.
We are talking about a guitar proficiency that for me hasn’t been matched, still to this day, yet Gary was so quick to dismiss his ‘rock’ era, ect. True he played with every blues established master and there were plans afoot through Albert King for Gary to play with the great SRV, but we all know what happened there.
I went through a period of being somewhat anti-Gary, being frustrated with how his career was progressing, knowing his capabilities, yes Gary has always shot himself in the foot throughout his career, but thank God has never been politically correct. What he is is a naturally gifted musician/guitarist/singer and writer and that will never fade away.
His various tributes to Phil Lynott are amongst the most heartfelt pieces of music I have ever heard…
Dave
________________________________________
Wild Frontier Stockholm Concert Issued on DVD/CD
March 12th, 2011
MI, that seems to remind me of a certain Sex Pistols song, which is surprisingly appropos.. -
Anyway there had been hope that Virgin now sold to EMI would release the world famous Isstadion, Stockholm show of April 25th 1987 filmed by NFL Films and one of the greatest live shows every captured on tape imo and surprise it will be out in May with extended versions of the Loner, up to 17 minutes and Rocking Every Night, which I could have done without, hoping for Gary’s amazing version of Shapes of Things, from the same show, but it is what is.
I’m sure Gary’s management has no control over the rights in this case.
We fans had been petitioning on Facebook for a 25th Anniversary release next year before Gary’s untimely passing.
It had been hoped that the DVD format would allow the entire show and original set list, plus perhaps interviews with the original band mates, ect.
That would have been the ideal ultimate fans release, but I fear this is the start of knee jerk releases of Gary’s material without any real attention to detail or extras.
I am grateful for it’s release though as many new GM fans will be able to hear and see Gary at the absolute zenith of his Celtic rock era and his mastery of the Charvel Super Strat with his huge Marshall live set up and his Roland outboard gear.
I am having a German fan translate a long lost interview with the elusive Keith Page, who had been a guitar tech with Thin Lizzy and was Gary’s tech from the 1985-89 rock period. So far I have learned that a ST-10 Tubescreamer was used as a preamp first in line with a volume pedal, the start of a signal chain that included the Dimension D, the Chorus/Echo SRE-555 and the digital delay SDD-3000.
Gary’s awesome 1972 1992 Super Bass was the cornerstone of his rock era sound since the early eighties, slaving off to two other 100 Super Lead heads in the 1987 era, each head with it’s own Marshall 4X12″.
Gary’s playing and tone are on fire at this show and the excellently recorded live sound, mixed by the master Chris ‘Privett” Hedge is incredible.
The production values and editing by NFL Films is second to none.
The top mount Original Floyd Rose equipped single bridge EMG 81 Charvels, deliver an incredible stadium rock sound. Plus the brilliant Neil Carter on keys and second guitar, vocals, the master Bob Daisley on bass and the awesome Eric Singer on drums, makes for a real treat for the fan.
The release includes the show in CD and the DVD.
http://www.garymoorefc.com/en/news_stockholm_dvd
Also the Ballads and Blues 1982-94 VHS tape is available on the same CD/DVD format, with an additional commentary by Gary himself, plus some guitar playing extras, not seen before:
http://www.garymoorefc.com/en/news_balladsandblues_dvd
The Live at Montreux 2010 DVD/Bluray is set for release on May 30th and will highlight just how well Gary was playing right up until the end, his singing still strong, though his health is obviously in bad shape even to a non-medical person watching.
But fans will be able to see a pro-shot and recorded video of this last tour which ended in the Ukraine, Gary went on his first day of holiday and then……
Sadly their may only exist rough studio demos or rehearsal tapes of the three new songs for the Celtic Rock album that was to be recorded right after Gary’s ill-fated vacation.
Gary’s use of a fixed bridge Les Paul on the Wild Frontier and After The War tunes that were recorded with a Floyd Rose eguipped guitar only goes to demonstrate his mastery of the guitar. Using vibrato to substitute for a bar, he provides a master class in playing adaptability.
Great tone with his big pedal board and Marshall 1959HW Super Leads, for me personally I had an ominous feeling watching all the boot videos from this tour that Gary once he had immersed himself in the sad times and material following the death of his great friend and musical collaborator Phillip Lynott, it seemed almost a farewell from Gary in my mind and eyes.
He seemed to be pushing himself through this grueling tour, even adding on the last Ukraine dates.
Please read my interview prior to the inception of the tour and his reuniting with Gary, where Neil Carter, responsible for helping in producing arguably Gary’s finest work, discussed with me his feelings about those years, which were musical high points to him as well. http://www.neilcarter.org
http://www.garymoorefc.com/en/news_dvd2011
The setlist:
6th – Montreux Jazz Festival, Auditorium Stravinski, Montreux, Switzerland
Intro: Dunluce (Part 2)
Over The Hills And Far Away
Thunder Rising
Military Man
Days Of Heroes
Where Are You Now?
So Far Away / Empty Rooms
Oh Wild One
Blood Of Emeralds
Out In The Fields
Still Got The Blues
Walking By Myself
Johnny Boy (Encore 1)
Parisienne Walkways (Encore 2)
http://www.garymoorefc.com/en/media_magazines
Here are the few guitar equipment sections I finished prior to Gary’s death, still to come, Fender, Gibson, Charvel/Jackson:
http://www.garymoorefc.com/en/guitars_heritage
http://www.garymoorefc.com/en/guitars_hamer
Pictures from the last tour:
https://s57.photobucket.com/albums/g219/ ... 1QQtppZZ36
I had hoped to write an autobiography of Gary a few years back, but my inquiry only went as far as Graham Lilley, his guitar tech/svengali and I’m positive Gary never saw my request.
I did manage to arrange Gary’s involvement with Gibson’s Custom Shop concerning the Collectors Series Melvyn Franks Greeny guitar replicas, Gary finally being reached while on tour, through my communications with Zoli the webmaster on the Lord of The Strings site, he was able to reach Gary’s tour manager, as Graham Lilley’s mom had died and he hadn’t seen the frantic emails from Gibson as they were releasing the Greeny replica. Fortunately Gary came on board, at least for the Tom Murphy aged versions, though they were shipped with out the COA’s signed by Gary, he was able to provide the signed documents eventually.
Gary got the first two aged GM replica #001 and #002, even over Melvyn Franks, who was provided with another aged GM actually with the guitar signed by Gary and another guitar with #001!
Gary can be seen using the aged reissue on the song Parisienne Walkways and it sounds incredible in his hands.
Also quite awhile back Neil Carter, whom I have become friends with, was sent a whole GM media pack by me, with dubs to DVD of all my GM VHS material and live boot CD’s, Neil told me he would be watching them with Gary as they lived not very far apart in Brighton and hopefully this experience provided the spark to rekindle the collaboration of these two again, I would like to think!
Zoli arranged for Neil and Gary to sign a rare promo picture from the ATW tour featuring the late Cozy Powell, who played on the album, with an injury on a motorbike prohibiting his participation in the tour, his place taken by Chris Slade ex AC/DC.
Neil mailed me the photo which he signed “To Dave” and Gary signed it as well, I will treasure it forever.
I still plan on doing a very in-depth writing project on this incredible man and musician, Gary Moore, who influenced me as much as Hendrix, Jeff Beck, Peter Green, Clapton, Steve Stevens and Yngwie.
Here is a great Celtic influenced improv from Gary in Russia, dedicated to Ireland from 2007:
This documentary on Gary was finished before his death and hopefully will be released again:
https://www.youtube.com/watch?v=RICdnWNSiOs
Dave
Posted in Uncategorized | Comments Off
Gary Moore – Blood of Emeralds
March 7th, 2011
The last tour of Gary Moore when he reunited with old band mate Neil Carter was such a joy and inspiration to me, that for all of this to end before the Celtic rock album could even be recorded is also a tragedy beyond measure.
On The Les Paul Forum, I endured mocking, slanderous attacks on Gary and his character, even a lawsuit, but I stuck to my faithful support of my hero from Belfast.
Here are excerpts, I am Emerald on that forum, others may know me as yngwie308, that was my moniker on most of the internet forums:
I emailed Neil Carter yesterday with my condolences, he said things are all still somewhat surreal and it is a lot to take in.
Gary had been the greatest guitar influence in my life and I learned so much from him, he was a independent as was Rory Gallagher.
Gary’s playing had never sounded better on the last tour and I am proud of the fact that I steadfastly defended him through all these attacks on his character, appearance, ect.
Many were unfortunately on this forum I am sad to say, so those who said such things, any words of sorrow are hollow.
Gary was reliving a very sad era in his life, the time post 1986 where we lost the great Phil Lynott, I recall Gary was on holiday when he learned of Phillip’s death.
This is a tragedy of immense proportions, the same to me as when Jimi Hendrix died or Tommy Bolin.
Just very sad, he leaves an immense legacy and Gary was much moore than just a Les Paul player.
He played many styles and was a huge influence on a whole generation of players.
His perfect pitch in 2 1/2 step bends and his great vibrato, note choice, his great skill at thematic solos and his singing which had improved incredibly over the years.
I want to do justice to the influence Gary has made on guitarists and music in general, but am much too sad to do a proper job at the moment.
For now Gary was the guitarists guitarist, there is no doubt and he always stressed the importance of being in tune and always gave all in his live performances.
He was a real person, didn’t act like a star, but when he spoke it was from the heart and sincere, just like his playing.
There will never be another like him, the forty shades of green are calling him back…Gary built his career on sheer talent and hard work, God Bless him and his family, now Phil is back by his side and Rory too.
Loved him very much, I will mourn him the rest of my life, still stunned by the news, it hasn’t sunk in yet, but as it does, I am sadder. Gary’s playing easily brought tears to my eyes and now the tears are often.
Emerald
Thank you Lily, this is a great gesture on behalf of LPF.
Here is the thread on Gary’s last tour I started in the Crossroads section:
Thank you for your kind words all you Gary Moore fans, we all mourn together, his impact wil live on forever in the hearts and minds of many everywhere….
Here is the brilliant version of Parisienne Walkways from Montreux on the 001 GM/MF’s aged Les Paul, can’t wait for the official DVD due in March still as far as I know now:
https://www.youtube.com/watch?v=M0U0y9Sh ... L&videos=0–c223ewCw&feature=recentlik
https://www.youtube.com/watch?v=hQMLpwSE ... re=related
Emerald
http://www.lespaulforum.com/forum/showt ... p?t=173268
http://www.lespaulforum.com/forum/showt ... p?t=168213
Gary Moore’s Planned Return To His Celtic Roots Project
December 28th, 2009
Having completed my interview recently with Neil Carter, the emphasis of the material covered Wild Frontier and After The War…the Wild Frontier lineup was one of Gary’s most cohesive bands and made powerful material that was dynamite live.
The power of those songs, especially live, sans Linn drums and Fairlight, ect., hasn’t been matched since imo. Then After The War, Dunluce and the emotional Blood of Emeralds are the highlights for me.
Gary’s music has always had a message and a personal statement, since the first albums of the early eighties.
I personally love Celtic music, my grandmother was born in Belfast and I have distant relationship to the Moore's in Northern Ireland from that area, irregardless, the power and beauty and yes, spirituality of Irish music is a powerful, yet extremely pure, surprisingly complex in composition pure ancient form of music.
The songs from Wild Frontier and Blood of Emeralds have great personal meaning to me, yet Still Got The Blues, is my wifes favorite era of Gary’s music, she loves the blues ballads and Gary’s emotive singing.
It’s not over for Gary with that chapter of Gary’s life, I knew it wasn’t. The majority of After The War, was I feel dictated as Gary has told, by the record company and his management at the time.
I am not a huge Graham Lilley fan, it must be said, now I’ve said it.. , for various reasons, but Gary has been attacked here in the States, not to go off topic again in this thread, but I have come under great personal attacks as a swell headed fanboy..
The ‘controversy over the Stripe guitar, seemingly precluding Gary from ever darkening the US shores again.
Whatever people may say, and I am ashamed of many of my fellow Americans for the particularly nasty threads in for example The Les Paul Forum, ect.
Gary will rise above this and he still only ever shows some of his arsenal, Gary keeps so much in reserve for someone who allegedly ‘overplays’ on a regular basis. I have established it is pure jealousy on these individuals behalf.
Gary has mastered many, many forms of guitar music. For me the Celtic rock period was the zenith of Gary’s rock based, high amplification, Floyd Rose Tremelo based guitar playing. After going the LP/Blues route, the Monstrosities of Rock DVD, still makes me cringe, Gary has the wrong, hostile audience and we know how that makes him react.. and when he plays the WF songs on a fixed bridge guitar, I mean “Out In The Fields”, it was hard for him even, as he admitted in the extra commentary, to nail the solos as he had done in 1987.
We are talking about a guitar proficiency that for me hasn’t been matched, still to this day, yet Gary was so quick to dismiss his ‘rock’ era, ect. True he played with every blues established master and there were plans afoot through Albert King for Gary to play with the great SRV, but we all know what happened there.
I went through a period of being somewhat anti-Gary, being frustrated with how his career was progressing, knowing his capabilities, yes Gary has always shot himself in the foot throughout his career, but thank God has never been politically correct. What he is is a naturally gifted musician/guitarist/singer and writer and that will never fade away.
His various tributes to Phil Lynott are amongst the most heartfelt pieces of music I have ever heard…
Dave
rupe
Active member
Cool stuff Dave! I didn't read it all yet but I will over the next year or so 
I don't know how this thread slipped past me before...Gary is one of my heroes without a doubt. I too was bummed when he went blues and actually thought he was a terrible blues player for several years until he released "Blues for Greeny". I loved that album and it sent me back to listen again to his prior blues work. I had been going through a "blues purist" phase and Gary effectively slapped me in the face and knocked me out of it. Nowadays as I gig in a blues band, he's one of my biggest influences...he really helped me bridge the gap between my earlier stylistic influences (Rhoads, Lee, Lynch, Campbell) and traditional electric blues.
He may not have influenced your note choices, but it sounds to me like he influenced your tone.
I don't know how this thread slipped past me before...Gary is one of my heroes without a doubt. I too was bummed when he went blues and actually thought he was a terrible blues player for several years until he released "Blues for Greeny". I loved that album and it sent me back to listen again to his prior blues work. I had been going through a "blues purist" phase and Gary effectively slapped me in the face and knocked me out of it. Nowadays as I gig in a blues band, he's one of my biggest influences...he really helped me bridge the gap between my earlier stylistic influences (Rhoads, Lee, Lynch, Campbell) and traditional electric blues.
Anybody else see the irony in that statement? How can you say he wasn't an influence if inspired you to drop about $3K on an amp?cupcaketwins":1tg2592x said:
He may not have influenced your note choices, but it sounds to me like he influenced your tone.That's what it was all about for me too until my "awakening"Chubtone":1tg2592x said:
Shawn Lutz
New member
I really doubt I could ever have a blues "awakening" it has been done to death from the straight blues purist cats to the Hendrix/SRV clones and no its not because I can't play it. I have more freedom with the classical/jaxx/fusion influenced stuff, I can sound like myself where in the blues thing most of the time I sound like a SRV/Hendrix copy cat. Its fun to play for a couple of tracks but I get bored easily with it.
rupe
Active member
I used to say that too...you'll grow up one dayShawn Lutz":3qfw5x5g said:
Shawn Lutz
New member
rupe":3m35d989 said:I used to say that too...you'll grow up one dayShawn Lutz":3m35d989 said:
don't put any money on that
The minute I hear a player playing the cliche'd beefed up BB King/Chuck Berry licks is minute I quit listening 
Moshaholic
New member
Hardcore Gary Moore fans own Colisieum-II
"War Dance" & "Electric Savage"...
That sutff has been in my collection since the early 80's...
Gary's playing is beyond belief and Jon Hiesman's drumming is over the top too
G.
"War Dance" & "Electric Savage"...
That sutff has been in my collection since the early 80's...
Gary's playing is beyond belief and Jon Hiesman's drumming is over the top too
G.
Atomic Playboy
New member
rupe":5mt858l3 said:Cool stuff Dave! I didn't read it all yet but I will over the next year or so
I don't know how this thread slipped past me before...Gary is one of my heroes without a doubt. I too was bummed when he went blues and actually thought he was a terrible blues player for several years until he released "Blues for Greeny". I loved that album and it sent me back to listen again to his prior blues work. I had been going through a "blues purist" phase and Gary effectively slapped me in the face and knocked me out of it. Nowadays as I gig in a blues band, he's one of my biggest influences...he really helped me bridge the gap between my earlier stylistic influences (Rhoads, Lee, Lynch, Campbell) and traditional electric blues.
Anybody else see the irony in that statement? How can you say he wasn't an influence if inspired you to drop about $3K on an amp?cupcaketwins":5mt858l3 said:
That's what it was all about for me too until my "awakening"Chubtone":5mt858l3 said:
I have been a massive Moore fan for many years and you know that. Of course I have the Cozy Powell, Greg Lake and Colosseum II era stuff on original vinyl, always have had.
Cupcake twins is Carl F, under another one of his varied non de plumes..
Gary has always had incredible drummers, Hiseman, Singer, Paice, Powell and that other American whose name is escaping me, oh yeah, Mark Nauseef, not least the multi-instrumentalist Gary Husband, whom I was not aware had played with Holdsworth, very cool.
Apologies for my disjointed posts, but I was trying to link documents, ect.
Bottom line is any GM questions, shoot 'em my way, Gary was my longest hugest influence. From his overall integrity, intuneness. equipment choices, ect.
Gary was/is the man. btw Bill cna you guys access the LPF links without being members since you are the only one replying to me and you always have!! Thanks for that!!
Atomic Playboy
carlygtr
Banned
New member
Anybody else see the irony in that statement? How can you say he wasn't an influence if inspired you to drop about $3K on an amp?cupcaketwins":c73y1p81 said:
He may not have influenced your note choices, but it sounds to me like he influenced your tone.No irony at all. He was a great player but not an influence. His use of the SLO and Eric Clapton's use of the SLO made me want to check the amp out. An SLO wasn't 3K in 1990, btw....and you don't get instant Gary or EC tone from simply owning the amp.