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Rock - Released May 30, 1980 | Sanctuary Records

After cooperating with Phil Lynott on Back on the Streets, Gary Moore moved to L.A. and formed the group G-Force with Willie Dee, Tony Newton, and drummer Mark Nauseef. The group did not hold together much longer than it took to finish the first album, and on its re-release on CD, only Moore gets credit. But the album they left behind, also named G-Force, is clearly underrated. As expected, it does contain the elements that would later make Moore famous, like hard rock riffs and long instrumental solos. Looking for this, listen to "White Knuckles/Rockin' and Rollin'," which would stay in his repertoire for a long time. But the album also shows a side later hardly seen. "Hot Gossip" and "The Woman's in Love" are catchy pop tunes that, except for the guitars, have more in common with Elvis Costello than with Moore's coming albums, or with the weird boogie rock of Grinding Stone. These tracks could appeal to a pop audience if they would ever find them, which is unlikely. And surprisingly, these are two of the tracks written exclusively by Moore. Yes, one can suspect that some of the humor of the quirky choruses is unintentional, but the timing is perfect. But if underrated, the album still holds problems for the buyer. Except for the apparent difficulty of appealing to two different audiences, the album also contains a few tracks ranking among Moore's worst. So despite a number of great songs, G-Force is probably best bought by listeners who want to find a few unexpected gems. It may contain too few true Gary Moore songs for rock fans and too many guitar solos for pop fans. In 1990 the album was re-released on CD by Castle Communications. © Lars Lovén /TiVo
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Metal - Released January 1, 1982 | Virgin Records

This is the first of Irish guitar virtuoso Gary Moore's true heavy metal albums. Boasting a crisp, aggressive sound, Corridors of Power kicks off with the foot-stomping "Don't Take Me for a Loser," delivers the token power ballad in "Always Gonna Love You," and floors the gas pedal on "Rockin' Every Night." However, the album's climax has to be the epic "End of the World," with it's two-minute long guitar solo intro and vocals courtesy of Cream's Jack Bruce. © Eduardo Rivadavia /TiVo
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Rock - Released January 1, 1983 | Virgin Records

Gary Moore might just be the greatest guitar hero America's never heard of, probably because only his recent blues recordings have benefited from proper distribution stateside. In fact, Moore has worn so many hats during his near 30-year career that the words eclectic and unfocused immediately come to mind. Victims of the Future arrived in the middle of the most consistent phase of his career -- that of a heavy metal guitar slinger. Between the epic cold war-inspired title track and the massive riffing of "Murder in the Skies" (written about the Korean airliner shot own by Russian fighter jets), Moore assaults the listener with more guitar notes than appear in most careers. These are great songs though, and his powerful vocals are also very effective, especially on the hit ballad "Empty Rooms." None of Moore's recordings are very easy to find in America, but make sure this is the first one you look for. © Eduardo Rivadavia /TiVo
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Rock - Released July 21, 1983 | Sanctuary Records

Although he'd probably beg to disagree, Gary Moore's worst enemy throughout his career has arguably been his own eclecticism; a distinct lack of focus which has regularly seen him swinging back and forth between the roles of heavy metal guitar hero and blues purist (and everything in between: Irish folk music, jazz fusion, you name it). And while the second half of his career saw him capable of focusing on both the blues and hard rock/metal with some consistency, 1984's Dirty Fingers is very much a document of those early, restless years. Originally recorded in 1980 but shelved in deference to the far more radio-oriented material released in its stead as the one-off G Force album that same year (yes, another detour by Moore), Dirty Fingers' tracks are generally characterized by a raw, uncompromising heavy rock aesthetic -- hence the title. As such, tough, virile rockers invariably slathered in frenetic six-string fretwork abound (see "Hiroshima," "Kidnapped" "Lonely Night") but, with the exception of the unapologetically nasty "Run to Your Mama," these tend to fall well short of the material heard on 1979's Back on the Streets and its "official" successor, Corridors of Power, three years later. A cover of the Animals' "Don't Let Me Be Misunderstood" is similarly lackluster; "Rest in Peace" is just another example of Moore's typically bland '80s balladry; "Really Gonna Rock" sounds like an early version of "Rockin' Every Night"; and the one-minute title track is merely a sketch for the electrifying solo later used to introduce Corridors of Power's epic "End of the World" (for which this album's "Bad News" was partly cannibalized, as well). But there is at least one other career highlight to be found on Dirty Fingers, and that's the bombastic "Nuclear Attack" (yet another of Moore's apocalyptic warnings), which, amid massive riffs that keep it rocking like a motherf**ker, unveils a simple but effective counterpoint synthesizer theme that one could very well assume inspired Europe to write "The Final Countdown." Also know that most of the above find Moore sharing lead vocals with former Ted Nugent singer Charlie Huhn for the first and final time, and you'll have all you need to know about Dirty Fingers -- an interesting but not essential Gary Moore album. © Eduardo Rivadavia /TiVo
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Rock - Released September 21, 1983 | Sanctuary Records

This live album, recorded circa 1980 at London's Marquee Club, is a mixed bag, featuring material from Gary Moore's 1979 solo album Back on the Streets and his band project G Force. Most impressive, perhaps, is the incredible musicianship in this performance from Moore and drummer Tommy Aldridge. Besides rocking out with "Back on the Streets" and "Run to Your Mama," the band locks into a great groove on "She's Got You." But they reach an absolute peak with a beautiful rendition of Moore's first U.K. hit, the instrumental ballad "Parisienne Walkways," a melody so lovely that Moore plagiarized himself 12 years later, tweaking it only slightly to create his hit "Still Got the Blues." © Eduardo Rivadavia /TiVo
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Blues - Released January 1, 1984 | Virgin Catalogue

This album is a jaw-dropping affair for anyone who believes that Eddie Van Halen is the ultimate guitar-shredding experience. Gary Moore's classic live album We Want Moore! is about as good as it gets. Drawing mainly from the Irish guitarist's previous two studio albums, every cut gets a shot in the arm from Moore's extended soloing, most notably the Yardbird's "Shapes of Things" at almost nine minutes. Recorded in places as distant as Tokyo, Glasgow and Detroit, the performances also benefit from the impressive vocal tag team between Moore and rhythm guitarist Neil Carter. © Eduardo Rivadavia /TiVo
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Metal - Released January 1, 1985 | Virgin Records

Run for Cover took the heavy metal ingredients of Gary Moore's previous two albums and added a little pop refinement to the mix. Thankfully, this did not compromise the overall heaviness of the record, and Moore even achieves a successful remake of his classic ballad "Empty Rooms." Calling on his many friends to help in the studio, Moore obtains fantastic vocal performances from former Deep Purple bassist/vocalist Glenn Hughes on "Reach for the Sky" and "All Messed Up," and former Thin Lizzy leader and childhood friend Philip Lynott on the dramatic "Military Man." The latter also trades vocals with Moore on the album's biggest single, "Out in the Fields." Written about the religious turmoil in their native Ireland, it was actually Lynott's final recorded performance before his tragic death. It also presaged the musical and lyrical Irish themes which would dominate Moore's future work. © Eduardo Rivadavia /TiVo
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Rock - Released January 1, 1989 | Virgin Records

This album attempted to repeat the pop-metal formula of Gary Moore's 1985 album, Run for Cover, but falls short for various reasons. First, the songwriting wasn't quite up to par and except for "Over the Hills and Far Away, the title track, and "The Loner" - a beautifully moody guitar instrumental, Moore seemed to be going through the motions. Second, and most fatal was the decision to use a drum machine throughout the album; a failed experiment which just plain sounds wrong. Still, this is hardly a bad record, just slightly disappointing. © Eduardo Rivadavia /TiVo
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Blues - Released January 1, 1989 | Virgin Catalogue

Gary Moore's 1989 release, After the War features a return to the metal guitar riffing of his '80s records ("Speak for Yourself" and "Running from the Storm"), while continuing to explore more conventional pop dynamics with mixed results. It works great on "Ready to Love," and, after dedicating his last album to fallen childhood friend and musical partner in crime, Phil Lynott, Moore finally honors him in song with the moving "Blood of Emeralds." As it turned out, this would be Moore's last hard rock album before he became a born-again bluesman. © Eduardo Rivadavia /TiVo
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Rock - Released January 1, 1990 | Virgin Records

Relieved from the pressures of having to record a hit single, Gary Moore cuts loose on some blues standards as well as some newer material. Moore plays better than ever, spitting out an endless stream of fiery licks that are both technically impressive and soulful. It's no wonder Still Got the Blues was his biggest hit. © David Jehnzen /TiVo
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Rock - Released January 1, 1990 | Sanctuary Records

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Rock - Released January 1, 1993 | Virgin Records

4 Stars - Excellent - "...You get from Moore what you crave in vain from Clapton--melody, power, flash, that fluid, smoking guitar sound, and the permanent grimace of a revved-up virtuoso with one foot on earth and the other on the live rail..." © TiVo
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Rock - Released January 1, 1994 | Virgin Records

This ill-advised compilation rudely splices early ballads from Gary Moore's "metal period" ("Empty Rooms," "Johnny Boy") with his better-known latter-day blues experiments ("Midnight Blues," "Story of the Blues"). It's mostly solid material notwithstanding; however, this record can only be described as a doomed marriage -- the kind that could only have made sense to awful people like record company execs. Even worse, the record exposes the troubling similarity between 1979's "Parisienne Walkways" (co-written by Thin Lizzy main man Phil Lynott) and 1990's "Still Got the Blues" (Moore's biggest stateside success) in a blatant case of self-plagiarism. © Eduardo Rivadavia /TiVo
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Rock - Released January 1, 1995 | Virgin Records

Gary Moore's tribute to Fleetwood Mac guitarist Peter Green, Blues for Greeny, is more of a showcase for Moore's skills than Green's songwriting. After all, Green was more famous for his technique than his writing. Consequently, Moore uses Green's songs as a starting point, taking them into new territory with his own style. And Moore positively burns throughout Blues for Greeny, tearing off licks with ferocious intensity. If anything, the album proves that Moore is at his best when interpreting other people's material -- it easily ranks as one of his finest albums. © Stephen Thomas Erlewine /TiVo
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Metal - Released January 1, 1997 | Virgin Records

By the late '90s, guitarist Gary Moore was at a career crossroads. Should he continue on the path that brought him his biggest stateside success (Still Got the Blues), or try something a bit contemporary? The ex-Thin Lizzy member decided on the latter, issuing Dark Days in Paradise, an album that saw Moore utilize electronic beats and, of course, his trademark soaring guitar work, rather than blues-rockers. And you have to give the guitarist credit -- he does venture outside of what you'd usually expect from a new Moore album, whether it be the Beatlesque "One Fine Day" (which contains a bassline quite similar to the Fab Four's "Rain") or the keyboard-heavy ballad "Like Angels" (which sounds like it's straight from 1987). While fans of Victims of the Future may be left wondering where the hard rock went, Dark Days in Paradise will be an interesting listen for fans curious to hear Moore trying new approaches. [Originally released in 1997, Dark Days in Paradise was reissued by Virgin in 2003 with three bonus tracks: "Burning in Our Hearts," "There Must Be a Way," and the title track.] © Greg Prato /TiVo
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Metal - Released January 1, 1998 | Virgin Records

Irish guitarist Gary Moore has built an entire career on stubborn self-recycling. Just when listeners think they have him pegged within a particular musical style (heavy metal guitar slinger, soft-hearted acoustic player, jazz fusion experimentalist, electric blues purist), the enduring six-string legend throws a curve ball and changes artistic direction -- seemingly just to spite his critics. Because of this, his extensive recorded legacy as a solo artist has defied adequate encapsulation into greatest-hits packages, and in America, where his profile has never exceeded the status of a connoisseur's favorite, taking a first stab at discovering his work becomes an even more vexing task. Out in the Fields: The Very Best of Gary Moore doesn't solve this problem, but it does alleviate it somewhat by concentrating on Moore's best-known guise among the aforementioned connoisseur club -- hard rock and heavy metal guitar shredder. Included here are the rare mainstream hits ("Out in the Fields," "Wild Frontier"), balls-out metal headbangers ("Run for Cover," "Military Man"), sublime ballads ("Parisienne Walkways," "Empty Rooms"), and later-day blues successes ("Cold Day in Hell," "Still Got the Blues"). In an imperfect world and a less-than-perfect career, this is about as spot-on as one can expect. © Eduardo Rivadavia /TiVo
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Rock - Released September 27, 1999 | Sanctuary Records

All credit to Gary Moore for having the courage to leap into the relative unknown with A DIFFERENT BEAT. It is indeed greatly removed from anything he had released prior to 1999. Perhaps it was the new-found freedom from the guitarist's contract with Virgin that fuelled the change of direction--that and Moore's obvious affinity with outfits along the lines of Apollo 440 and Fatboy Slim (to whom "Fatboy" is a tribute). There's still opportunity for some trademark axe solos, thankfully, and hearing Moore's fretwork gymnastics over contemporary dance beats is a totally unique experience. Most impressive are "Lost in Your Love," given an impassioned vocal and instrumental performance, and the blissed-out "Surrender," the other end of the emotional scale entirely. "Bring My Baby Back," meanwhile is a marvellous pictorial description of a jilted lover's impending train ride to attempt a rescue of his former love. Moore and his production team serve up a pleasing array of dance beats, spiced up with inimitable melodies. A Phat Lizzy, perhaps?! © TiVo
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Blues - Released March 12, 2001 | Castle Communications

Six years after his successful tribute to Peter Green, Gary Moore follows with another solid electric blues-rock effort that falls squarely in line with his similarly themed albums Still Got the Blues, After Hours, and Blues Alive. Although he adds brass on a rollicking version of B.B. King's "You Upset Me Baby," Moore predominantly sticks to the basics here, pounding out energetic and full-bodied blues-rock and leading a stripped-down trio with a journeyman's enthusiasm and his trademark thick, sustained guitar solos slashing through the proceedings. The majority of the tracks are originals, although even the best of them sound suspiciously like rewritten blues standards. "Cold Black Night" is little more than a speeded-up "Messin' With the Kid," and "Picture of the Moon" sounds awfully similar to Moore's own "Still Got the Blues." And whether the world needs yet another version of "Stormy Monday" or "I Ain't Got You" is debatable. But Moore pulls off even the most clichéd material with his phenomenal prowess; supple, identifiable vocals; and a guitar tone that effortlessly shifts from a Santana/Peter Green-styled hovering intensity to a slashing Stevie Ray Vaughan attack. While Moore isn't redefining the genre or even his own approach to it, he's adding his stamp to blues-rock with Back to the Blues. Consistently rugged, moving, and heartfelt, the album is a reminder that even without reinventing an established musical style, an artist can effectively work within its boundaries to produce a satisfying, if not quite fresh, interpretation relying solely on talent and passion. © Hal Horowitz /TiVo
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Rock - Released January 1, 2002 | Virgin Records

A handy and generous double-disc (one live, one studio) compilation of Gary Moore's four Virgin label blues albums is predominantly an excellent introduction to this showy hard rocker turned midlife third-generation bluesman. The 31 tracks liberally sample from his relatively short five-year association with Virgin (roughly 1990-1995) but ignore his excellent 2001 Back to the Blues release on Sanctuary. Still, there are more than enough hot licks here to prove that Moore could be a convincing blues musician if he decided to give up his more ostentatious shred rock profession and focus on blues full time. While purists may gripe as Moore tears off searing, high-voltage riffs on covers of tracks made popular by Johnny "Guitar" Watson, Otis Rush, and John Mayall as well as Freddie, B.B., and Albert King (the latter two along with Albert Collins turn up as guests on both discs), there's no denying the emotional ties the guitarist has to this material or his obvious vocal and instrumental talents. Unfortunately, Blues for Greeny, Moore's successful tribute to philosophical mentor Peter Green, is under-represented with only a handful of cuts, one of which ("Need Your Love So Bad") is presented in an edited single version. Otherwise, this is a well-selected but poorly annotated (bandmembers aren't even mentioned, nor are sources of the songs or when and where the live tracks were recorded) compilation that shows how a rugged rock star can transform into a respectable bluesman, albeit one who plays very loud. Gary Moore may not be a rootsy, down-home guitarist, but he's just as passionate about this music as anyone who recorded for Chess. If Moore can expose other generations to the blues, as Cream and the Rolling Stones did before him, he has done his job well. © Hal Horowitz /TiVo
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Metal - Released January 1, 2002 | EMI Marketing

Not wanting to leave a good thing behind, Moore reprises Still Got the Blues on its follow-up, After Hours. While his playing is just as impressive, the album feels a little calculated. Nevertheless, Moore's gutsy, impassioned playing makes the similarity easy to ignore. © David Jehnzen /TiVo