The career of GARY MOORE was a jagged timeline, full of twists, turns and wild tangents. And yet, through it all, the Irishman never lost faith in the power of live music. On December 2nd, 2009 – just fourteen months before his tragic death aged 58 – the fabled guitarist played a special one-off club show at London’s Islington Academy. Now, 10 years later Provogue, a division of the Mascot Label Group, will be releasing this never before released recording, Live From London on 31st January 2020.
Watch the video for Still Got The Blues here:
Between the opener and encore, Moore gave us everything he had in Islington, revisiting some of the key crossroads of his career. From his 2008 swansong album, Bad For You Baby, there’s the energetic title track, plus Down The Line’s high-velocity country-blues and the emotive leads of Donny Hathaway’s I Love You More Than You’ll Ever Know. Reaching further back, there’s the heartfelt guitar hook of Otis Rush’s All Your Love and an emotive reading of John Mayall’s Have You Heard, both songs that Moore would have first heard on ‘Beano’ as a teenage guitarist.
All the more poignant, then, that just over a year later, Moore would be gone, his screaming-hot Les Paul falling forever silent. In the blues community, it left a chasm, and while the scene has welcomed a roll-call of master guitar players since, the Irishman’s absence still stings. Live From London is one last shard of genius, catching a generation-best performer firing on all cylinders, and reminding us one last time why he was put on this planet.
Tracklist:
1. Oh, Pretty Woman
2. Bad For You Baby
3. Down The Line
4. Since I Met You Baby
5. Have You Heard
6. All Your Love
7. Mojo Boogie
8. I Love You More Than You’ll Ever Know
9. Too Tired / Gary’s Blues 1
10. Still Got The Blues
11. Walking By Myself
12. The Blues Is Alright
13. Parisienne Walkways
The career of GARY MOORE was a jagged timeline, full of twists, turns and wild tangents. And yet, through it all, the Irishman never lost faith in the power of live music. On December 2nd, 2009 – just fourteen months before his tragic death aged 58 – the fabled guitarist played a special one-off club show at London’s Islington Academy. Now, 10 years later Provogue, a division of the Mascot Label Group, will be releasing this never before released recording, Live From London on 31st January 2020.
Listen to a new track ‘Since I Met You Baby’ from the album, here:
Tracklist:
1. Oh, Pretty Woman
2. Bad For You Baby
3. Down The Line
4. Since I Met You Baby
5. Have You Heard
6. All Your Love
7. Mojo Boogie
8. I Love You More Than You’ll Ever Know
9. Too Tired / Gary’s Blues 1
10. Still Got The Blues
11. Walking By Myself
12. The Blues Is Alright
13. Parisienne Walkways
The career of Gary Moore was a jagged timeline, full of twists, turns and wild tangents. And yet, through it all, the Irishman never lost faith in the power of live music. On December 2nd, 2009 – just fourteen months before his tragic death aged 58 – the fabled guitarist played a special one-off club show at London’s Islington Academy. Now, 10 years later Provogue, a division of the Mascot Label Group, will be releasing this never before released recording, Live From London on 31st January 2020.
Listen to Oh Pretty Woman here:
As adolescence hit, Moore fell headlong into the blues flavours that dominate Live From London’s tracklisting, mostly drawing on US giants like Paul Butterfield and Brit Blues godfather John Mayall’s seminal 1966 ‘Beano’ album with Eric Clapton and during that same formative period, at Belfast’s tough Club Rado, an early lesson in the emotional impact of live blues came from Peter Green.
Moore’s own first semi-professional steps had been with the Beat Boys and Dublin’s Skid Row, who offered an escape-route from Belfast, plus the camaraderie of the band’s chaotic frontman, Phil Lynott. Lynott was soon fired, but he remembered his old wingman when his new band, Thin Lizzy, needed a stand-in. It was a gig in which Moore played the guitar hero role to the hilt. But despite the adulation, Moore feared Lizzy was nurturing his self-destructive streak, and left to explore the outer reaches in Jon Hiseman’s virtuoso jazz-fusion outfit, Colosseum II.
However, every time he picked up a guitar in the dressing room, he immediately went to the timeless licks of the Mississippi Delta, Moore suddenly saw the path. So began 1990’s Still Got The Blues, the multi-million-selling comeback album on which the Irishman’s rebirth as an authentic bluesman was given added credibility by collaborations with A-listers like Albert King, Albert Collins and George Harrison.
The material from Still Got The Blues became the cornerstone of Moore’s shows – and it never left the setlist. Fast-forward to December 2009, and as a sea of punters streamed into the Islington Academy for the show that would become Live From London. The pace was set by Albert King’s Oh Pretty Woman, and the home straight taking in the raucous Walking By Myself and the weeping melody of the title track. And of course, there was room for Parisienne Walkways, the guitarist’s UK#8 hit sounding younger than yesterday on this new release. “I can hardly get away without doing it,” noted the guitarist of that fan-favourite encore. “It’s quite a long version, because I like to draw things out. Us guitar players, if we can squeeze a bit more out of it, we’re gonna do it, aren’t we?”
Between the opener and encore, Moore gave us everything he had in Islington, revisiting some of the key crossroads of his career. From his 2008 swansong album, Bad For You Baby, there’s the energetic title track, plus Down The Line’s high-velocity country-blues and the emotive leads of Donny Hathaway’s I Love You More Than You’ll Ever Know. Reaching further back, there’s the heartfelt guitar hook of Otis Rush’s All Your Love and an emotive reading of John Mayall’s Have You Heard, both songs that Moore would have first heard on ‘Beano’ as a teenage guitarist.
All the more poignant, then, that just over a year later, Moore would be gone, his screaming-hot Les Paul falling forever silent. In the blues community, it left a chasm, and while the scene has welcomed a roll-call of master guitar players since, the Irishman’s absence still stings. Live From London is one last shard of genius, catching a generation-best performer firing on all cylinders, and reminding us one last time why he was put on this planet.
Tracklist:
1. Oh, Pretty Woman
2. Bad For You Baby
3. Down The Line
4. Since I Met You Baby
5. Have You Heard
6. All Your Love
7. Mojo Boogie
8. I Love You More Than You’ll Ever Know
9. Too Tired / Gary’s Blues 1
10. Still Got The Blues
11. Walking By Myself
12. The Blues Is Alright
13. Parisienne Walkways
Jimmy Kay and Alan Dixon from Canada’s The Metal Voice recently spoke to former Gary Moore, Ozzy Osbourne , Rainbow, bassist Bob Daisley about his new tribute album to former guitarist Gary Moore. Which was released on October 26 via earMUSIC, “Moore Blues for Gary – A Tribute To Gary Moore”.
Watch the interview here:
Daisley talks about Gary Moore’s career, the participants on the Gary Moore tribute album, Moore’ preference of Ozzy guitarists and when Moore turned down Ozzy as his frist choice for guitarist when Ozzy got fired from Black Sabbath.
When asked about the time Ozzy wanted Gary Moore as his guitarist prior to Randy Rhoads
“Ozzy never wanted to replace Randy Rhoads with Gary Moore, Gary Moore was Ozzy’s first choice. When Ozzy was in Los Angeles after he got fired from Black Sabbath and he was thinking of putting a band together his first choice was Gary Moore. Gary Moore didn’t want to work with Ozzy because of Ozzy’s reputation with drugs and booze being unreliable and unprofessional. Gary said I will help you find a guitarist or if you find a guitarist that you want my opinion on I will help you that way. ”
When asked about which Ozzy guitarist Gary Moore preferred
“One thing I would like to add is that Gary rated Jake E Lee very high he said, Saying I think Jake E Lee is one of the best guitarist Ozzy ever had. ”
When asked about his and Lee Kerslake’s induction into The Hall of Heavy Metal History Gala in January 23 2019 for their contributions to Ozzy’s Blizzard of Ozz and Diary of a Madman
“That is great it really puts the icing on the cake. I spoke to Lee Last week about it and he is over the moon because Lee is not having a good time at the moment he has some bad health issues and we don;t know how much longer Lee is going to be around, he can go in a few months we don;t know. So for this to happen for Lee it means a lot for him and it means a lot for me. it’s something that’s really really nice to have. ”
John Sykes (ex-THIN LIZZY, WHITESNAKE) does a rendition of “Still Got The Blues”, with the soulful vocals by Daniel Bowes (THUNDER) complementing each other.
“Parisienne Walkways” is played by Steve Morse (DEEP PURPLE, DIXIE DREGS) and Ricky Warwick (THIN LIZZY, BLACK STAR RIDERS, THE ALMIGHTY).
Gary’s friends are here — his rocking keyboard / guitar / vocal sidekick Neil Carter sings “Empty Rooms”, which he co-wrote with Gary. Don Airey (DEEP PURPLE, RAINBOW) and Glenn Hughes (DEEP PURPLE) had joined forces with Gary on numerous occasions, together with Eric Singer (KISS) and Darrin Mooney (PRIMAL SCREAM). .
Doug Aldrich (WHITESNAKE, DIO), r Steve Lukather (TOTO), Joe Lynn Turner (RAINBOW), Jeff Watson (NIGHT RANGER), Damon Johnson (BLACK STAR RIDERS, ALICE COOPER) and Stan Webb (CHICKEN SHACK).
Gary’s sons Jack and Gus are also involved, playing guitar and singing on “This One’s For You”, showing that the “Blood Of Emeralds” still runs their veins.
Moore Blues for Gary – A Tribute To Gary Moore” track listing and personnel details:
01. That’s Why I Play The Blues
02. The Blues Just Got Sadder
03. Empty Rooms
04. Still Got The Blues (For You)
05. Texas Strut
06. Nothing’s The Same
07. The Loner
08. Torn Inside
09. Don’t Believe A Word
10. Story Of The Blues
11. This One’s For You
12. Power Of The Blues
13. Parisienne Walkways
The sky was crying when GARY MOORE passed away on 6th February 2011. From Thin Lizzy to Colosseum II, together with his solo hits ‘Parisienne Walkways’ and ‘Out In The Fields’, Gary influenced a whole generation of guitar players and guitar playing.
The bass player/producer Bob Daisley had played with Gary since the 1980’s, and is known for suggesting to Gary that he should make a blues album – the rest is history, ‘Still Got The Blues’ was an immense hit, followed by a series of classic modern blues albums. Bob, also known for his contributions to Rainbow and Ozzy Osbourne, was the driving force behind “Moore Blues For Gary”.
“In my opinion, Gary was one of the best guitarists who ever lived”, says Bob Daisley. “It was an honour for me to have worked with him and to have known him so well. When Gary passed away in 2011 the world lost one of the all-time greats. I don’t think that enough was said or done at the time to acknowledge the loss of such a great player so I took it upon myself to pay personal tribute to the man and record some new versions of his music, mostly from his blues catalogue.
I asked many members of the Gary Moore family tree, and some other great players, to contribute to the project. The response was not only encouraging, but very moving. It seems that the name Gary Moore is also synonymous with the words ‘respect’, ‘honour’ and ‘greatness’. I didn’t set out to recreate anything that Gary had done, or to compete in any way, these arrangements and performances represent a ‘hats off’ to Gary and nothing more. Long live the memory of Robert William Gary Moore. Yes, he was another ‘Bob’ – something that I wasn’t aware of for all of those years that I worked with him. I feel such gratitude towards the people who contributed to this album and I’m honoured to have worked with them all.”
John Sykes (ex-Thin Lizzy, Whitesnake) makes a triumphant return after a long absence with an uber-emotional rendition of ‘Still Got The Blues’, with the soulful vocals by Daniel Bowes (Thunder) complementing each other.
‘Parisienne Walkways’ is played by Steve Morse (Deep Purple, Dixie Dregs) and Ricky Warwick (Thin Lizzy, Black Star Riders, The Almighty), with the unlikely pair resulting in a miraculous chemistry.
Gary’s friends are here – his rocking keyboard / guitar / vocal sidekick Neil Carter sings ‘Empty Rooms’, which he co-wrote with Gary. Don Airey (Deep Purple, Rainbow) and Glenn Hughes (Deep Purple) had joined forces with Gary on numerous occasions, together with Eric Singer (Kiss) and Darrin Mooney (Primal Scream). Brush Shiels, the leader of Gary’s first professional band Skid Row, also makes an appearance.
Doug Aldrich (Whitesnake, Dio), Steve Lukather (Toto), Joe Lynn Turner (Rainbow), Jeff Watson (Night Ranger), Damon Johnson (Black Star Riders, Alice Cooper) and Stan Webb (Chicken Shack) also unsparingly pour all their emotions to show their appreciation to Gary.
Gary’s sons Jack and Gus are also involved, playing guitar and singing on ‘This One’s For You’, showing that the ‘Blood Of Emeralds’ still runs their veins.
During his blues days, Gary made two albums to thank the guitarists that made him who he was: “Blues For Greeny” for Peter Green of Fleetwood Mac, and “Blues For Jimi” for Jimi Hendrix. Now this is his turn to be rewarded with an album full of love and respect. We still got the blues for you.
Jimmy Kay from Canada’s The Metal Voice recently spoke to legendary OZZY OSBOURNE, BLACK SABBATH, RAINBOW, GARY MOORE and URIAH HEEP bassist and songwriter BOB DAISLEY.
In the interview Bob Daisley spoke about his time in Rainbow with Ronnie James Dio and goes in depth in regards to the writing and recording sessions on the classic Ozzy Osbourne albums, Blizzard of Ozz, Diary of a Madman, Bark at the Moon, The Ultimate Sin and No Rest for the Wicked. As well Daisley talks about the court challenges he and drummer Lee Kerslake pursued over the years against Don Arden of Jet Records over unpaid royalties.
Watch the interview here:
When asked about his dismissal from Rainbow during the Ronnie James Dio years (5:29)
“In 1978 Ritchie Blackmore decided that he wanted to go a little more commercial he wanted to have hit records, chart success, so he got a new line up. Ritchie did have the chart success that he wanted with his new singer Graham Bonnet but I think it was at the expense of a certain amount of respect because Rainbow became sort of poppy and commercial. You can’t knock the success but I don’t think it was the best versions of Rainbow. The classic lineup what other people say is the lineup with Ronnie James Dio, Blackmore, Cozy Powell and David Stone and myself.”
On his first rehearsal with Ozzy (9:47)
“I took the train to Stafford England, I got to Ozzy’s house and he had a couple of other guys there a drummer and a guitarist and I don’t know who they were, nice blokes but I wasn’t sort of knocked out by them, no real spark there, it was just ok no real chemistry. So I went to the kitchen with Ozzy and I said look if you want to be serious about this I would like to form a band with you but I don’t think these two other guys are world class players. Ozzy said ok one minute, Ozzy walked back into the rehearsal room and he told those two, pack up fellas it’s not going to work out and they were gone, on the spot.”
When asked about his original contract stipulations with Jet Records and how he was fired from Ozzy’s band (13:41)
“An average deal in those days was around 12% of retail so we were suppose to have 12% for the whole band and because Ozzy had just come out of Black Sabbath and he was already signed to Jet Records as their artist we decided that we thought it was fair that Ozzy gets 6% for himself. The other 6% was suppose to be split between guitarist Randy Rhoads, drummer Lee Kerslake and myself we were suppose to get 2% each. And that would change as we went further down the line as it became more of a band. Also It was a band it wasn’t a solo project, it was a band called The Blizzard of Ozz. We didn’t actually sign the contract because things were getting changed all the time, we had our law firm and they had their law firm and lots of back and forth.”
“The two albums Blizzard of Ozz and Diary of a Madman were done about 10 or 11 months of each other including a UK tour in between. We wrote the songs then we recorded the album. The first album was recorded and out before the contract was signed. Then when it came to write the second album Diary of a Madman we said hang on a minute we haven’t got the money from the first album yet. Don Arden the manager at the time said on the phone to us don’t worry carry on the work and it will be all sorted out you will have your contract and money so we believed him and we carried on working. Then we recorded Diary of a Madman and Lee Kerslake and I got fired. Ozzy wanted Tommy Aldridge in the band and Tommy was a friend of Sharon Arden’s as well. During the UK tour they kept pulling me a side saying let’s get rid of Lee let’s get Tommy and I just didn’t think it was the right move, they asked me several times and I said no all the time, so eventually they got rid of me and Lee.”
When asked about Ozzy Osbourne’s musical contributions to Blizzard of Ozz (19:50)
“Randy Rhoads had riffs and ideas. Randy and I would sit on a chair next to each other and work things out together musically most of the main riffs were Randy’s but the music part we did together. We would play a backing track and Ozzy would sing a melody over it and a lot of these melodies were very good. Ozzy had never written lyrics, Randy wasn’t a lyricist and neither was Lee so I did the lyrics. I just wrote lyrics that would fit with Ozzy’s phrasing and his melodies.”
When asked about the court case against Jet Records and Don Arden (45:00)
“We had gone to court against Jet Records and Don Arden, we didn’t get credited on Diary of a Madman they put bassist Rudy Sarzo and drummer Tommy Aldridge and credited them on playing on Diary of a Madman when they hadn’t played a note or beat on it. We got our songwriting credits but we didn’t get our co-production credits and we didn’t get our performance credit royalties. We were going to court against Jet Records. Ozzy and Sharon Arden were helping us because she had a big fallout with her father but we didn’t know at the time was Sharon had bought the rights to Ozzy’s catalogue from her father Don Arden in 1983 and they were getting the royalties. We went to court in 1986 and Don Arden and Jet records paid us an amount but in 1986 those albums weren’t multi platinum they done a million and a bit each, we thought we would continue to get royalties but we didn’t because there wasn’t an actual judgment against Don Arden or Jet Records because he waved a white flag and made an offer and the lawyers advised us to take it.”
When asked if he would keep pursing the court cases against the Osbourne’s camp over unpaid royalties after his latest lose (54:05)
“Oh no.”
When asked how much money he believes he was owed in unpaid royalties today (54:18)
“The Blizzard of Oz and Diary of a Madman have probably sold 4 or 5 million each and the record royalties from performance that’s got to be in the millions that we didn’t get paid.”
When asked if the Osbourne’s called him up today to participate once again on another album would he consider participating? (54:49)
“Well I never say never. I don’t burn bridges, I don’t hate people. If there was a way to do it where we could work something out in a sort of nice way I wouldn’t say its completely out of the question, it’s a possibility I suppose depending on the circumstances on how they sell and offer it.”
When asked about his thoughts about the Ronnie James Dio Hologram Tour (54:43)
“I wouldn’t see something like that I think its a little distasteful but that is just my opinion.”
