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Robert William Gary Moore (4 April 1952 – 6 February 2011) was a Northern Irish musician. Over the course of his career, he played in various groups and performed a range of music including blues , blues rock , hard rock , heavy metal and jazz fusion .
The Strat Pack: Live in Concert is a film of a 24 September 2004 concert featuring Joe Walsh, Gary Moore, Brian May, Hank Marvin, David Gilmour, Mike Rutherford, and many more musicians, marking the 50th anniversary of the Fender Stratocaster guitar. The film was released in 2005.
Blues for Jimi is a live album and video by the Northern Irish, blues rock guitarist and singer, Gary Moore. The live performance was originally recorded on 25 October 2007 at the London Hippodrome. The performance features Gary Moore playing a selection of Jimi Hendrix classics.
Skid Row (a.k.a. 'Gary Moore/Brush Shiels/Noel Bridgeman') – Gary Moore version of the unreleased third album recorded late 1971 (Castle, 1990) Live And On Song – Both sides of Skid Row's first two singles on the Song label recorded 1969, plus a BBC 'In Concert' recording from 1971 (Hux, 2006)
Blues Alive is a live album by Northern Irish guitarist Gary Moore, released in May 1993. [3] It is a collection of recordings taken from his 1992 tour and draws most of its material from Moore's then-recent Still Got the Blues and After Hours albums.
Albert King in Paris, 1978 "Red House" was inspired by blues songs Hendrix was performing early in his career as a sideman. Music critic Charles Shaar Murray describes a song he calls "California Night", which Hendrix performed with Curtis Knight and the Squires, as "a dead ringer, both in structure and mood, for his 1967 perennial 'Red House ' ". [3]
After Hours is the ninth solo studio album by Northern Irish guitarist Gary Moore, released in 1992. The album features guest contributions from B.B. King and Albert Collins. It peaked at number four on the UK Albums Chart, making it Moore's highest-charting album in the UK.
A Different Beat moves Moore away from his familiar style of rock music towards a groove-based, dance-oriented style. [3] [9] Tim Jones of Record Collector called the album a straight-up dance album that exemplifies "a new, energising guitar/electro-beat, albeit within a bluesy setting", and felt the musician gives dance music "his own cutting-edged treatment". [3]