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Commentaire de morice

sur La loi de Moore


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morice morice 22 février 2011 00:13
 Used a baseball analogy to describe John Sykes, and related him to Willie Mays — the all-around talent. In the same parlance, Gary’s a Mark McGuire type — the longball hitter. He doesn’t do everything great, but when it’s time to deliver, he absolutely crushes the ball. Similarly, Moore wasn’t always the best singer or songwriter, but from about 1978 to 1990 his guitar playing combined everything you could ever want or ask for from a Dinosaur Rock guitar hero. It had fire, passion, intensity, emotion, balls, great gobs of attitude, melody, and a wide array of dynamics from bombastic to subtle. In just about every playing category, Moore had more.

Intensity. Everything about Gary Moore’s rock playing had an extreme intensity to it that I haven’t heard equaled in anyone else’s playing. Gary bled through his guitar. You can hear and feel the intensity in the notes. Compared to other players, Gary bent his notes further ; he applied his vibrato more fervently ; he whammied more frantically ; he crafted his solos toward more intense crescendos. His tone was intense — always just on the verge of feedback. Everything was always under total control, but Gary had this frantic intensity that no one else had.

Attitude and emotion. Gary’s rock playing had loads of attitude. On heavy songs, that attitude was : I’m gonna tear your head off. You can hear it in his rude and raunchy phrasing, his searing bends, prebends and vibrato. On ballads and lighter songs, the attitude is more : I’m gonna touch your soul. You can hear it in the way he employs more subtle dynamics such as the volume swells. Moore’s playing always had tons of feeling and sex in it.

Melody and melodic theme-driven compositions. Songs like Parisian Walkways, The Loner, his rendition of Roy Buchanan’s The Messiah Will Come, and Still Got the Blues are all songs built around a melodic guitar theme. These songs let Gary indulge in some of his most emotional and melodic playing.

Chops. Gary has blazing speed, but unlike the Shrapnel shredders, Gary has a heavy touch and gets there through brute force and sheer will. He sounds rougher and rawer. And unlike most of those shredders, Gary usually didn’t use speed just for the sake of speed. He’d usually set up the speed playing with slow melodic playing, and usually made sure the speed was used to progress the song or build the tension in a solo.

Compositional solos. On his studio albums, his solos were composed « stories » within the song, and typically start slow and build to a crescendo. On live albums, he would stretch out the solo’s original thematic ideas and play some of the most amazing stuff you’ll ever hear.

Freestyle solos. Back in the 80s, during a live show, the guitar hero would usually take a « freestyle » guitar solo live. Sometimes they did it on albums too, like Van Halen’s Eruption. No one did this better than Gary. His first one was called White Knuckles, and that solo evolved into the classic intro to the song End of the World. He cut another one on the European version of Murder In the Skies. The best ones are the studio version of End of the World on Corridors of Power, and it’s even more mind-melting live version that’s on We Want Moore.

Collaborations with Phil Lynott. Despite their often volatile personal relationship, Lynott/Moore musical collaborations always had a magic about them each man was hard-pressed to capture individually. This was something both men admitted freely. Thin Lizzy’s Black Rose album was their collaborative peak, but other creative high points for both artists included the songs Still In Love With You, Parisian Walkways, Out In the Fields, and Military Man.

Remakes. Gary was always great at taking some classic old rock song, and breathing new fire and intensity into it. He recorded great versions of the Animals Don’t Let Me Be Misunderstood, Free’s Wishing Well, a zany version of the Easybeats Friday on My Mind. His best remake is the staggering version of the Yardbirds/Beck Shapes of Things. Also worth finding is a positively ripping remake of Thin Lizzy’s Emerald that has made its way to certain compilations.

Versatility. Moore was at home in any style of music. He honed his rock style through his years with Thin Lizzy. He developed amazing speed playing chops-intensive fusion with Colosseum II. He’s done instrumental music. As a solo artist, he wrote pop songs to complement the heavy rockers. He became a decent singer. He’s done blues.
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