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Blues - Released April 30, 2021 | Provogue Records

How Blue Can You Get collects a selection of unreleased material from the late Gary Moore's archives. Included are takes of Freddie King's "I'm Tore Down," Elmore James' "Done Somebody Wrong," and Memphis Slim's "Steppin' Out," alongside some of Moore's own material. © Rich Wilson /TiVo
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Blues - Released January 31, 2020 | Provogue Records

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In 2009, just over a year before his untimely death, the late, great Irish bluesman played an intimate set at London's Islington Academy which has since gone down in legend among his fans. Recorded for posterity, it appeared in January 2020. Featuring Moore at the top of his game, it includes some of his best-loved tunes including "Since I Met You Baby," "I Love You More Than You'll Ever Know," "Walking by Myself," and the classic "Parisienne Walkways." © John D. Buchanan /TiVo
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Blues - Released November 24, 2017 | Sanctuary Records

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Blues - Released November 24, 2017 | BMG Rights Management (UK) Limited

Blues and Beyond is a compilation box set assembling various recordings from legendary Northern Irish singer/songwriter and blues guitarist Gary Moore. The collection features previously unheard material as well as live renditions of the hits "Still Got the Blues" and "Parisienne Walkways." I Can't Wait Until Tomorrow, an authorized biography written by music journalist Harry Shapiro, is also included. © Rob Wacey /TiVo
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Blues - Released November 24, 2017 | Sanctuary Records

Blues and Beyond is a compilation box set assembling various recordings from legendary Northern Irish singer/songwriter and blues guitarist Gary Moore. The collection features previously unheard material as well as live renditions of the hits "Still Got the Blues" and "Parisienne Walkways." I Can't Wait Until Tomorrow, an authorized biography written by music journalist Harry Shapiro, is also included. © Rob Wacey /TiVo
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Blues - Released September 22, 2014 | Eagle Rock - Eagle Records

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Rock - Released September 24, 2012 | Mercury Studios

Both Jimi Hendrix and Gary Moore played guitar and sang with the soul of bluesmen and the drive of hard rockers. So who better to pay tribute to Hendrix at an August 2007 London Experience Hendrix launch of Hendrix's Live at Monterey reissued DVD than the veteran Moore? And to add more gravitas to the post-DVD presentation concert, Experience drummer Mitch Mitchell and Band of Gypsys bassist Billy Cox joined Moore for three tunes near the end of the 80-minute-long set. The DVD, Blu-Ray, and CD (all available separately) capture the amped-up excitement of the night as Moore and his regular touring duo tear though some of Hendrix's biggest hits with the ferocity that Moore brings to every gig. The only criticism is the set list, which trots out the usual suspects of Hendrix's early catalog ("Fire," "Foxy Lady," "Purple Haze," "The Wind Cries Mary") which are overplayed. Whether Moore had control over that or was instructed to play tunes that hewed closely to those from the Monterey Hendrix performance is unclear. But even though he doesn't exactly make them his own, the Irish guitarist brings plenty of sweat and intensity to those warhorses. He also adds the less well-known "I Don't Live Today," which, in light of Moore's untimely 2011 passing, is strangely and sadly prophetic. An emotional six-minute reading of "Angel," prefaced by a frantic guitar improv instrumental oddly named "My Angel" that displays Moore's chops, gives him a chance to get sensitive on one of Hendrix's most ghostly and beautiful tunes. The "blues" in the album's title is spotlighted as Mitchell and Cox kick off their 25-minute guest appearance with a fiery, 11-minute "Red House," arguably the night's highlight. Cox's basslines find a deep groove (he also sings the song) and Moore is clearly in his element, whipping off solos that shift from sweet and jazzy to biting and raw. The threesome had only rehearsed once the day before, and that lack of preparation nearly sinks "Stone Free," also sung by Cox, where things get a little too ragged. But they bounce back for a punchy, nine-minute "Hey Joe" that captures the spirit of Hendrix's version while providing Moore a platform for his own six-string acrobatics that organically build to a crescendo even Hendrix would have applauded. The DVD shows how much the trio is enjoying itself, but even the audio is evidence that Moore is in his natural habitat with this material, and playing with Hendrix's sidemen is clearly a thrill. He brings back his own band for a closing ten-minute "Voodoo Child (Slight Return)" that puts an exclamation point on an already outstanding performance. Why it stayed in the vaults for five years until its 2012 release is unclear, but this is a lightning-in-a-bottle treat to be savored by both Moore and Hendrix fans. © Hal Horowitz /TiVo
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Rock - Released January 1, 2012 | Virgin Catalogue

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Rock - Released January 1, 2011 | Virgin

In 2003, the folks in England finally got an official release of the 1995 U.S. Gary Moore collection Ballads & Blues, 1982-1994, retitled The Essential Gary Moore. As its original title suggested, the 14-track collection bypasses Moore's '80s-era heavy metal excursions in favor of his power ballads from the same decade and his bluesy rebirth of the early '90s. The best-known tracks of the bunch remain "Still Got the Blues (For You)" and a live take of "Parisienne Walkways" (which in his review of Ballads & Blues, Ed Rivadavia fittingly points out are both carbon copies of each other), but other lesser-known highlights are featured. Tops include the slow-burning blues of "Jumpin' at Shadows," the synth-heavy yet haunting "Johnny Boy," and the acoustic "With Love" (not to be confused with the Moore-era Thin Lizzy song of the same name). Also included is the schmaltzy ballad "Empty Rooms," a track that has probably been featured on more Gary Moore recordings than any other. If you're in the U.S., instead of shelling out the extra bucks for The Essential Gary Moore import edition, save your money and get the more affordable Ballads & Blues (or better yet, go for a more comprehensive Moore collection, such as 1998's Out in the Fields: The Very Best of Gary Moore). © Greg Prato /TiVo
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Rock - Released July 28, 2009 | Mercury Studios

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Rock - Released January 1, 2009 | Mercury Studios

This five-disc box collects as many complete concerts by Irish blues-rock guitarist Gary Moore, recorded in 1990, 1995, 1997, 1999, and 2001 at the Montreux Jazz Festival. Some might call this too much material, especially given the number of songs that recur (four versions of "All Your Love," three each of "Oh Pretty Woman," "Too Tired," and "You Don't Love Me," and two each of "The Blues Is Alright," "Further on Up the Road," "Need Your Love So Bad," "Parisienne Walkways," "Since I Met You Baby," "Still Got the Blues," "Stop Messing Around," and "Walking by Myself"), but there is in fact substantial variation from disc to disc. The obvious outlier is the 1990 disc, on which Moore is joined for four superlative songs by legendary Texas guitarist Albert Collins. But the 1997 concert finds Moore moving from straight Chicago-style blues to an alternative metal roar, the guitar cranked up ferociously loud and backed by a mix of live instruments, occasionally chintzy synths, and programmed beats. By 1999, he's returned to the blues, albeit a hard-rocking version that's still closer in spirit to Blueshammer than Buddy Guy. The 2001 set is a mixed bag, running the gamut from a restrained take on "Stormy Monday" to an almost punk rock sprint through Jimi Hendrix's "Fire" and the amp-frying closing instrumental "The Prophet." At each concert, he's backed by a sympathetic and skilled band (including horns in 1990 and 1995), which only draws attention to one of this set's biggest flaws -- the total lack of information. Concert dates are provided, but no personnel listings or songwriting credits. It's a shame that the backing musicians are so ill-served, but otherwise, any serious Moore fan would do well to pick this set up and spend an afternoon or two wallowing in six hours of screaming blues-rock guitar. © Phil Freeman /TiVo
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Rock - Released January 1, 2009 | Mercury Studios

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Rock - Released January 1, 2009 | Mercury Studios

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Rock - Released January 1, 2009 | Mercury Studios

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Rock - Released January 1, 2009 | Eagle Rock (US) - Eagle Records

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Rock - Released January 1, 2009 | Mercury Studios

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Rock - Released January 1, 2009 | Mercury Studios

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Blues - Released September 22, 2008 | Mercury Studios

Another year, another Gary Moore blues-rock album nearly interchangeable with the last. That's no problem for fans or even newcomers, because despite the surface similarities between releases, Moore never seems to be going through the motions for the sake of further bulking up his already substantial catalog. His tough guitar lines remain biting yet classy, and his underappreciated voice is strong and convincing on originals and covers that nail all of the blues-rock bases without sounding rote. While there are no surprises here, Bad for You Baby is far from a disappointment. Moore continues a string of rugged, post-hard rock, power blues that he has carved his niche in since 1990's Still Got the Blues. He applies his throaty vocals and feral guitar to a pair of Muddy Waters tunes to impressive effect. No one will mistake his versions of Waters' "Walking Through the Park" or "Someday Baby" for the classic Chess era nuggets they are. Yet Moore's rocked up attack hits the mark for being relatively faithful to their melodies even as he wields his power blues sledgehammer. Moore boogies through J.B. Lenoir's "Mojo Boogie" like he invented the style, and even if his husky vocals will never be mistaken for Lenoir's reedy, high pitched singing, he tears into the tune with enough energy to shake up anything in the Johnny Winter songbook. Guitar shredders will thrill to the hot fret acrobatics of the double-time "Down the Line," and those who thought Led Zeppelin's first album was their finest hour should chow down on the hard rocking Jimmy Page-isms of "Umbrella Man." Moore writes one for the ladies on the sweet ballad "Holding On," which won't win any awards for lyrical complexity but boasts a lovely melody and Otis Taylor's daughter, Cassie, on backing vocals. Cassie returns with her dad (plucking nearly inaudible banjo) for the swamped up "Preacher Man Blues" that features some surprisingly effective harp from Moore, the only time he plays it on this disc. Al Kooper's slow, yearning "I Love You More Than You'll Ever Know" from the New Yorker's Blood, Sweat & Tears stint is given an extended, nearly 11-minute treatment that's as compelling as BS&T's. Those hoping for Moore to expand his horizons will need to wait a little longer, but for existing followers and especially those new to his gutsy approach, Bad for You Baby more than fills the bill. © Hal Horowitz /TiVo
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Blues - Released January 1, 2008 | Mercury Studios

Another year, another Gary Moore blues-rock album nearly interchangeable with the last. That's no problem for fans or even newcomers, because despite the surface similarities between releases, Moore never seems to be going through the motions for the sake of further bulking up his already substantial catalog. His tough guitar lines remain biting yet classy, and his underappreciated voice is strong and convincing on originals and covers that nail all of the blues-rock bases without sounding rote. While there are no surprises here, Bad for You Baby is far from a disappointment. Moore continues a string of rugged, post-hard rock, power blues that he has carved his niche in since 1990's Still Got the Blues. He applies his throaty vocals and feral guitar to a pair of Muddy Waters tunes to impressive effect. No one will mistake his versions of Waters' "Walking Through the Park" or "Someday Baby" for the classic Chess era nuggets they are. Yet Moore's rocked up attack hits the mark for being relatively faithful to their melodies even as he wields his power blues sledgehammer. Moore boogies through J.B. Lenoir's "Mojo Boogie" like he invented the style, and even if his husky vocals will never be mistaken for Lenoir's reedy, high pitched singing, he tears into the tune with enough energy to shake up anything in the Johnny Winter songbook. Guitar shredders will thrill to the hot fret acrobatics of the double-time "Down the Line," and those who thought Led Zeppelin's first album was their finest hour should chow down on the hard rocking Jimmy Page-isms of "Umbrella Man." Moore writes one for the ladies on the sweet ballad "Holding On," which won't win any awards for lyrical complexity but boasts a lovely melody and Otis Taylor's daughter, Cassie, on backing vocals. Cassie returns with her dad (plucking nearly inaudible banjo) for the swamped up "Preacher Man Blues" that features some surprisingly effective harp from Moore, the only time he plays it on this disc. Al Kooper's slow, yearning "I Love You More Than You'll Ever Know" from the New Yorker's Blood, Sweat & Tears stint is given an extended, nearly 11-minute treatment that's as compelling as BS&T's. Those hoping for Moore to expand his horizons will need to wait a little longer, but for existing followers and especially those new to his gutsy approach, Bad for You Baby more than fills the bill. © Hal Horowitz /TiVo
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Blues - Released January 1, 2008 | Mercury Studios

Since the early '90s Belfast guitar whiz Gary Moore has returned again and again to the blues, leaving his metal phase far behind. Old New Ballads Blues is exactly what the title says it is, a mix of old blues (covers of songs by Elmore James, Willie Dixon, and Otis Rush), new blues (five Moore originals), ballads (half the album) and, well, blues (by one definition or another, everything here passes for blues). The real surprise is that the strongest songs are the original Moore-penned ballads, as Moore gives powerful and atmospheric performances (both vocally and as a guitarist) on "Gonna Rain Today," "No Reason to Cry," and a solid horn-augmented remake of one of his best songs, "Midnight Blues," from what is easily his best album, 1990s million-selling Still Got the Blues. The James and Dixon covers ("Done Something Wrong" and "You Know My Love" respectively) seem disappointingly by-the-numbers, while the Rush song, "All Your Love," fares a bit better, but Moore's own compositions shine brightest here, giving him plenty of room to weep on the old Les Paul, which is a very good thing, since vocals have never been Moore's strongest suit and his lyrics are often on the slight side. All of that vanishes when his guitar takes over a song, and on the instrumental "Cut It Out," Moore's muscular guitar tone says as much or more about life inside the blues as any of the vocal numbers. © Steve Leggett /TiVo