But, tellingly, Gary would share a room with Lizzy drummer Brian Downey on tour, and they would indulge their mutual love for the blues, playing cassettes featuring Mayall, Albert and BB King, and of course Peter Green.Īs a solo artist, Moore’s early albums showed the sheer conviction of his playing, and in 1978 the album Back On The Streets gave him his signature hit. The classic Lizzy song Waiting For An Alibi from the 1979 album Black Rose was an example of his formidable shred-rock style as he shared dazzling harmony lines with co-guitarist Scott Gorham.
More famously, his sporadic, turbulent membership of Thin Lizzy proved his rock chops to millions worldwide. Between 19 he played jazz-rock in the group Colosseum II. It’s also on the new collection, How Blue Can You Get – its unique tone is clear and present on the self-penned closing track, Living With The Blues.Īfter Skid Row, Moore’s career passed through various phases, and slowly but surely his incredible proficiency on the electric guitar saw him drift away from his roots in the British Blues Explosion. Moore called it ‘a battle axe to play’, but would use it throughout his career, notably on Blues For Greeny, his 1995 album dedicated to his hero.
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It’s the instrument heard on Fleetwood Mac hits such as Need Your Love So Bad and Man Of The World, its uncharacteristically single-coil sound down to the pickups being wired out of phase. That 1959 Les Paul, affectionately nicknamed ‘Greeny’, is now owned by another Moore super-fan, Metallica’s Kirk Hammett. Peter discovered me in Skid Row in Dublin when I was 16, and he persuaded his manager to bring us to England.” “I’d seen him play at Club Rado, he was using this amazing Les Paul that I went on to own, he plugged into a rented Selmer amplifier and the whole place was vibrating with his sound. “Peter was such a huge influence on me,” Gary said. He met gifted yet troubled guitarist Green two years later in Dublin, when Moore’s new band Skid Row supported Green’s Fleetwood Mac.
Then I heard Jeff Beck and Peter Green, and that’s where it all came from for me.” He kind of invented rock guitar as we know it – playing the blues with that edgy, aggressive tone. “I’d been playing for five years when that came out,” he told this writer in 2004, “and I heard Eric using that Les Paul/Marshall combination. He would regularly share a stage – and guitars and amps – with another upcoming player, Rory Gallagher. In 1966, Gary was just 14, already a self-professed ‘blues snob’, and playing guitar in local bands in his hometown, Belfast.
Details may be found on our website by clicking on the LISTEN HERE button. Listings in this catalog that are noted BRS Show will be played, time permitting. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ NAUCK'S VINTAGE RADIO'S BIDDER REQUEST SHOW will be broadcast the weekends of October 27-28 and November 3-4. So our winners this time were Paul Wheldon, Scott Musil, Ernst Weber & Art Helmer. Since the winner of the VRA 51 drawing didn't win very much, we drew three additional names. In fact, all 50 bids can be $3 bids on $3 minimum bid records. It is not necessary that you have 50 winning bids, nor is the dollar amount of your bids important. 131 BIG FIVE K DRAWING You could win a VRA 52 auction credit up to $5,000 (FIVE THOUSAND DOLLARS)! To be entered into the drawing, you must submit 50 or more bids. 129 Miscellaneous Paper, including Sheet Music. 123 Gem Quality Cylinders (Edison Blue Amberols). 55 Salon, Concert & Popular Instrumental.
19 US Armed Forces Recordings, including V-Discs. VINTAGE RECORD AUCTION #52 Table of Contents Part 1: 78s Acoustic Recordings.
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