1 		Midnight Blues 	  	05:45 		
2 		Always Gonna Love You 	  	03:56 		
3 		Don't Believe A Word 	  	03:53 	
4 		Love Me Now 	  	05:08 
5 		Oh Pretty Woman 	  	04:25 		
6 		You Know My Love 	  	07:17 	
7 		Still Got The Blues (Full Version) 	  	06:10 	
8 		Story Of The Blues 	  	06:43 	
9 		Empty Rooms 	  	06:35 	
10 		Holding On 	  	03:47 	
11 		I Can't Quit You Baby 	  	05:48 	
12 		Spanish Guitar 	  	03:56 		
13 		The Loner 	  	05:54 
14 		Falling In Love With You 	  	04:52 	
15 		Gonna Rain Today 	  	04:40 		
16 		Have You Heard 	  	05:49 	
17 		The Messiah Will Come Again 	  	07:31 	
18 		Flesh & Blood 	  	04:52 	
19 		King Of The Blues 	  	04:36 	
20 		Castles 	  	05:49
21 		Jumpin' At Shadows 	  	04:20 	
22 		Parisienne Walkways 	  	03:20 		
23 		No Reason To Cry 	  	09:01 	
24 		I'll Play The Blues For You 	  	06:03 		
25 		Listen To Your Heartbeat 	  	04:31 	
26 		Preacher Man Blues 	  	05:58 		
27 		The Hurt Inside 	  	05:51 	
28 		Crying In The Shadows 	  	05:01 	
29 		Love Can Make A Fool Of You 	  	04:06 	
30 		The Supernatural 	  	03:01

In the wake of the British blues rock explosion of the late 1960’s, Gary Moore emerged from the long shadow cast by the likes of Eric Clapton and Jeff Beck. The native of Belfast, Northern Ireland went on to set a new gold standard for guitar over the course of the next three decades. His playing would be revered by peers and fans alike, and Gary would go on to work with some of the most influential names in music – artists like George Harrison, The Chieftains, Andrew Lloyd Webber, John Mayall and B.B. King. Peter Green of Fleetwood Mac was the first to champion the seventeen-year-old Moore’s talent, eventually even passing the proverbial torch – in this case, his prized 1959 Gibson Les Paul – to the young guitarist.

When Gary first joined the progressive fusion band Colosseum II, suddenly people were saying ‘Where did this guy come from?!’ Going back and listening to Gary’s previous records with Skid Row wouldn’t provide many clues. The music of Skid Row – a mixture of boogie, country and blues reminiscent of The Grateful Dead, The Band and Ten Years After – bore little resemblance to Gary’s later work. The music of Colosseum II was incredibly complex, and Gary had his work cut out for him. After all, he was self-taught, couldn’t read music and had to play everything by ear. The band recorded three exhilarating albums full of stop/start riffs, tricky time signatures and brilliant musicianship. Colosseum II could have given the venerable Mahavishnu Orchestra a run for its money any day of the week.

Gary lent his talent to Philip Lynott and Thin Lizzy on three separate occasions in the Seventies. This relationship produced a real gem in 1979’s Black Rose album. Lynott returned the favor, appearing on Moore’s solo set, Back on the Streets. The album was a real turning point for Gary, straddling the fence between Thin Lizzy-styled rockers and Colosseum-inspired instrumentals. It contained the stunning duet Parisienne Walkways, a well-deserved top 10 hit. It also seemed to be a last glance back at where Gary came from, while at the same time pointing to what would come. Indeed, as Gary became a songsmith and created vehicles in which to better express himself his playing suddenly began to speak volumes to a growing audience. And in turn, his albums climbed the charts. Why? Because inside the no-nonsense exterior of this temperamental Irishman lies an introspective soul, and Gary would plumb to such depths that his solos would often be either achingly beautiful – as in Empty Rooms, I Look at You and Military Man – or electrifying in their intensity, as in Shapes of Things, Out in the Fields and the jaw-dropping intro to End of the World. For my money, the greatest eight minutes of guitar Gary Moore has ever recorded is his heart-wrenching cover of Roy Buchanan’s The Messiah Will Come Again, the centerpiece of After the War, Gary’s last real rock album for some time. From that point on, around 1990, Gary’s interest returned to the blues, a passion which has sustained him to this day.

No matter the genre, one thing is evident – Gary Moore doesn’t play for you, he plays to you. Gary’s solos are not simply instrumental breaks in the middle of a song. They drive the song forward, with intention, and are an integral piece of the puzzle. The lion’s share of the songs chosen for this tribute come from Gary Moore’s first few solo albums; they were originally recorded by Moore when most of the musicians involved here were still learning to play. Chris Poland, guitarist for Megadeth and Ohm, contributed to Parisienne Walkways on this release and remembers, ‘The first time I ever heard Gary Moore, I just couldn’t believe his guitar tone, and how fearless he was. It’s that same fearlessness that Jeff Beck has. When Gary Moore’s done with a solo, you’re kind of breathless.’

The first time I heard Gary Moore, his phenomenal speed left me stunned, and his guitar seemed to wail and sing like nothing I had ever heard. It was as if Gary was saying all the things on guitar that I had been waiting so long to hear. His playing made my blood boil, gave me chills – it was breathtaking. For my 30th birthday, my wife surprised me with a Gary Moore signature edition Gibson Les Paul. When I first saw it and held it in my hands, I felt like I was frozen in time. It was as if my musical life was flashing before my eyes. I heard the echoes of the songs playing back to me in my head like some sort of surreal soundtrack, I thought of the countless hours I’d spent learning those songs and I remembered Paris in ’49… As I looked down at the guitar in my hands, I thought ‘This is it – this is the guitar that’s been singing to me all these years.’ Gary Moore’s guitar continues to sing to audiences around the world – from the Emerald Isle, over the hills and far away. ---guitarnoise.com

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GARY MOORE/MIDNIGHT BLUES BAND
01. Oh , Pretty Woman
02. Too Tired
03. The Sky Is Crying
04. Further On Up The Road

GARY MOORE/MIDNIGHT BLUES BAND/OTIS RUSH
05. So Many Roads

BUDDY GUY/RON WOOD/MIDNIGHT BLUES BAND
06. Sweet Home Chicago

MICK JAGGER/GARY MOORE/MIDNIGHT BLUES BAND
07. I'm Going Down
08. Checking Up On My Baby
09. Everybody Knows About My Good
10. Who Do You Love
11. I Just Wanna Make Love To You 
12. The Blues Is Alright

LENNY KRAVITZ/MICK JAGGER
13. No Expectations (Live Paris, May 1991)

Recorded Live at British National Music Day, 
Hammersmith Odeon, London, UK, 28/06/1999

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A1 Back on the Streets 4:25
A2 Don't Believe a Word 3:53
A3 Fanatical Fascists 3:06
A4 Flight of the Snow Moose 7:26
B1 Hurricane 4:54
B2 Song for Donna 5:32
B3 What Would You Rather Bee or a Wasp 4:56
B4 Parisienne Walkways 3:20

Gary Moore – guitar, keyboards, vocals
Phil Lynott – bass, vocals
Brian Downey - drums

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl. But due to Robbo's increasing unreliability, Moore was persuaded to stay on and record Lizzy's Black Rose album in exchange for Lynott's help in shaping his own solo effort, Back on the Streets. And a good trade it was, too, as with the exception of the title track's gutsy hard rock, Lynott's singing and songwriting contributions wound up providing the album with its most coherent and satisfying moments. These included the highly amusing "Fanatical Fascists," a mellow reworking of Lizzy's "Don't Believe a Word," a whimsical acoustic ballad called "Spanish Guitar," and the simply exquisite Moore tour de force "Parisienne Walkways." Unfortunately, these are rudely interrupted by a number of misplaced instrumental fusion workouts (no doubt G-Force leftovers) and a terribly saccharine ballad called "Song for Donna." Half winner, half dud, the album would at least serve notice of Moore's rebirth as a solo artist, and he would show marked improvement on his next album, Corridors of Power. --- Eduardo Rivadavia, allmusic.com

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01. Cold Day In Hell
02. Walking By Myself
03. Story Of The Blues
04. Oh Pretty Woman
05. Separate Ways
06. Too Tired
07. Still Got The Blues (For You)
 08. Since I Met You Baby
09. The Sky Is Crying
10. Further On Up The Road
11. King Of The Blues
12. Parisienne Walkways
13. Jumpin’ At Shadows

Gary Moore - guitar, vocals
Tommy Eyre - keyboards
Andy Pyle - bass
Graham Walker - drums
Martin Drover - trumpet
Frank Mead - alto sax, harmonica
Nick Pentalow - tenor sax
Nick Payn - baritone sax
Candy Mackenzie - backing vocals
Carol Thompson - backing vocals
+
Albert Collins – guitar (6)

I can't believe someone said Gary can't sing. I was first attracted to this album three years ago after hearing "Still Got The Blues" on the radio. I was completely taken by both his guitar and his expressive and emotional singing voice. After three years, I still almost tear up listening to him. The song "Still got the blues" alone is worth the price of this CD. Throw in "Story of the blues" and "Separate Ways" and you have a blues classic CD. I love when a really talented guitarist can express strong emotion without words. I like it even better when they have the ability to express the same emotion in their singing. Gary Moore is a master of all that; better than anyone I have ever heard. Listen carefully to any of the songs I mentioned above, and I defy you to say he doesn't express the emotion of the blues better than anyone. --- Patrick E Flanagan, amazon.com

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1.    "If You Be My Baby" (Peter Greenbaum / Clifford G. Adams) – 6:38
2.    "Long Grey Mare" (Peter Greenbaum) – 2:04
3.    "Merry-Go-Round" (Peter Greenbaum) – 4:14
4.    "I Loved Another Woman" (Peter Greenbaum) – 3:05
5.    "Need Your Love So Bad" (Mertis John Jr.) – 7:54
6.    "The Same Way" (Peter Greenbaum) – 2:35
7.    "The Supernatural" (Peter Greenbaum) – 3:00
8.    "Driftin'" (Peter Greenbaum) – 8:29
9.    "Showbiz Blues" (Peter Greenbaum) – 4:08
10.    "Love That Burns" (Peter Greenbaum / Clifford G. Adams) – 6:28
11.    "Looking For Somebody" (Peter Greenbaum) – 7:12

Gary Moore (guitar, vocals)
Nick Pentelow (tenor saxophone)
Nick Payn (baritone saxophone)
Tommy Eyre (keyboards)
Andy Pyle (bass)
Graham Walker (drums)

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,allmusic.com

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01. Back on the street (4:22)
02. Put it this way (4:57)
03. Song for Donna (5:29)
04. The scorch (6:07)
05. Desperado (6:02)
06. Hurricane (4:54)
07. Castles (5:37)
08. Don't believe a word (3:48)
09. Fighting talk (5:56)
10. Spanish guitar (3:51)               play
11. Flight of the snow moose (7:15)
12. Parisienne walkways (3:22)          play

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01 End Of The World
from "Corridors Of Power" (remastered) - 1982
02 Wild Frontier [12´´ Version]
from "Wild Frontier 12´´ Maxi" - 1987
03 Empty Rooms [Long Version]
from "Empty Rooms single" - 1985
04 Still Got The Blues
from "Still Got The Blues" (remastered) - 1990
05 Falling In Love With You [Remix Instrumental]
from "Corridors Of Power" (remastered) - 1982
06 All Your Love [Live 7/7/1990]
from "The Definitive Montreux Collection" - 2009
07 Spanish Guitar [rare Instrumental]               play
from "Rarities Bootleg" - Year unknown
08 Emerald [bonus track]
from "After The War" (remastered) - 1988
09 White Knuckles / Rockin' And Rollin'
from "G-Force" (remastered) - 1979
10 Devil In Her Heart [bonus track]
from "Victims Of The Future" (remastered) - 1983
11 The Messiah Will Come Again
from "After The War" (remastered) - 1988
12 Crying In The Shadows
from "Wild Frontier" (remastered) - 1987
13 Ready For Love
from "After The War" (remastered) - 1988
14 Parisienne Walkways [rare Live version]
from "Empty Rooms single" - 1985
15 The Sky Is Crying [bonus track]                  play
from "Still Got The Blues" (remastered) - 1990
16 Rest In Peace
from "Dirty Fingers" (remastered) – 1984

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1. Enough Of The Blues	4:47
2. You Upset Me Baby	3:14
3. Cold Black Night	4:17
4. Stormy Monday	6:53            play
5. I Ain't Got You	2:53
6. Picture Of The Moon	7:12
7. Looking Back	2:19                play
8. The Prophet	6:19
9. How Many Lies	6:10
10. Drowning In Tears	9:21


Gary Moore (vocals, guitar); 
Nick Pentelow, Frank Mead (tenor saxophone); 
Nick Payn (baritone saxophone); 
Martin Drover (trumpet); 
Vic Martin (keyboards); 
Darrin Mooney (drums).

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

Mojo (Publisher) (3/01, p.103) - "...This is an album defined by the words 'taut' and 'blistering' with bone-crunching production values and some incendiary, recorded-live solos. Eric Clapton could learn from this....and not a metal cliche in sight."

Many consider Gary Moore to be one of the most underappreciated guitarists in rock music, particularly in America where he has barely made an impression at all. Nonetheless he is often cited as an influence on the work of many other notable guitarists including Ozzy Osbourne’s axeman Randy Rhoads, and his fortunes are interweaved with the success of other well-considered artists. Moore drew his own inspiration from the stalwarts of blues-rock, in particular Peter Green of Fleetwood Mac. His first taste of fame was as a member of Skid Row where he first met his future Thin Lizzy associate, Phil Lynott. After he left Skid Row in 1972 he chose to form his own group, the Gary Moore Band, but when their debut album failed to arouse any interest he decided to re-connect with his old bandmate Lynott. Moore didn’t play with Lizzy for long at first, though he did return to play with them from time to time throughout the 70s, including working with them on Lizzy’s seminal Black Rose (1979) album. He went on to do session work and to join Colosseum II though, once again, he didn’t stick around, working with them on three albums. Moore’s second solo album generated the hit “Parisienne Walkways” -- recorded with Lynott on vocals -- and he created another new band G Force who lasted for only one album. In the 80s he put more energy into his solo work and enjoyed a run of European successes with albums released during this decade. His first album of the 90s marked a change of direction and the blues oriented Still Got the Blues became his best-selling offering. Subsequent albums evoked a similar sound, then in 1994 he formed the single album supergroup BBM. Since then he has continued to release solo albums which show his enduring fascination with blues and rock.

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01. Oh Pretty Woman
02. Walking By Myself        play
03. That Kind Of Woman
04. Parisienne Walkways (live)
05. Cold Day In Hell
06. Out In The Fields
07. Run For Cover
08. Shapes Of Things To Come
09. Wishing Well (live)
10. After The War
11. Rockin’ Every Night       play
12. The Sky Is Crying

Gary Moore (born Robert William Gary Moore, 4 April 1952) is a guitarist and singer from Belfast, Northern Ireland. In a career dating back to the 1960s, Moore has played with artists including Thin Lizzy, B.B. King, Colosseum II, Greg Lake and the blues-rock band Skid Row (not to be confused with the glam metal band of the same name), as well as having a successful solo career.

Gary Moore (ur. 4 kwietnia 1952 w Belfaście, Irlandia Północna[1]) – irlandzki muzyk bluesowy, wirtuoz gitary elektrycznej, wokalista i kompozytor. Moore był wiodącym gitarzystą w grupach Thin Lizzy, G Force, Colosseum II i Skid Row. Współpracował także z muzykami takimi jak B.B. King, Greg Lake i Huey Lewis i inni. Znany też jest z bogatej kariery solowej.

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01. I Love You More Than You ll Ever Know
02. Driftin
03. Merry Go Round
04. Supernatural
05. Love That Burns
06. Where Did We Go Wrong
07. Ball And Chain
08. Looking For Somebody
09. As The Years Go Passing By
10. Drowning In Tears
11. Preacher Man Blues
12. Sundown
13. Need Your Love So Bad
14. Still Got The Blues
15. Oh Pretty Woman

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