Gary Moore是众所周知的来自英伦群岛的著名音乐家之一。他的音乐生涯可以追溯到六十年代，很少有音乐家们没有受到著名的摇滚乐队如Thin Lizzy、Colosseum II和Skid Row等的影响下的下去创造他们的音乐。在2001年3月12号，星期一，Gary Moore出版了他的全新专辑——《Back To The Blues》。 Gary Moore于1952年4月4号出生在北爱尔兰的Belfast。和那个年代的很多人一样，他开始的时候也是听着猫王的音乐玩Rock and Roll。在60年代中期的家乡，通过Beatles、Jimi Hendrix和John Mayall的Bluesbreakes，Gary Moore开拓了的眼界，他开始认识到了Blues音乐的广阔世界。Peter Green演绎的“Blues Guitar”更是点亮了Gary的无限的天才。不久后，Gary就已经成为倍受瞩目的青年音乐奇才。其实，是Green促成了Moore的事业，Gary也漂亮地以他1995年发行的专辑《Blues For Greeny》来答谢Green。 1979年，凭借由Phil Lynote客串演唱，Gary弹主音的单曲“Parisienne Walkways”，Gary的事业蒸蒸日上。这首歌在那年的4月进入了英国十大，自然的，接下来的专辑《Back On The Streets》也被广为接受。 Gary的第一支著名乐队——强力三人组合Skid Row，在1970年与CBS公司签约，同时，Gary也搬去了Dublin，他的好朋友Phil Lynott也随即成了该乐队的主唱。Gary和这支乐队出了3个唱片，在乐队因为他要单飞解散之前，他们去了美国并帮助Allman Brother和许多其他乐队。但是不久后，Gary重组乐队Thin Lizzy，Phil Lynott代替了Eric Bell成为主唱。Gary在这个乐队中表现不多，但在1977年Brian Robertson离开乐队后他重新获得了他的位置，并在1978年开始了名为“Black Rose”的巡回演出。 在70年代晚期和80年代初期，Gary一直在不知疲倦的寻找自己东西；和Phil Lynott的重组是他又创作了充满力量的热门单曲“Out In The Fields”。在1987年的专辑《Wild Frontier》中，他在探索着他的Celtic的本性。但是直到1990年的专辑《Still Got The Blues》，Gary音乐才达到了他的创作才能能够充分发挥的巅峰。伴随着这个成功，Gary成为了和Alert King、B.B.King、Alber Collins等一样的Blues吉他大师，这也是他的卓越的天才的有力证明。1994年, Gary在BBM乐队中同Ginger Baker、Jack Bruce完成了一张专辑。然后又开始了他的单飞生涯。 从Gary的新专辑《Back To The Blues》，我们看到这个天才的音乐家在用他的新的角度去诠释Blues。在很具试验性的专辑《Dark Days In Paradis》和《A Different Beat》后，一个内含10首经典之作像“Stormy Monday”、“You Upset Me Baby”和“I Ain't Got You”等歌曲的专辑问世了。这张专辑不亚于是对Gary的音乐的一个回顾。Gary致力于在他个性化的音乐当中去融合，匹配对立不同的风格，并显示了他出凡的感觉和炫目的技巧。录音时几乎是在录录音棚里的现场，《Back To The Blues》摇摆、摇滚，表现出Gary Moore是一个真正德Blues的捍卫者。可以说2001年Gary在他公认的音乐生涯中达到了他的巅峰，象在60年代第一次看到了Peter Green的16岁少年一样，充满了火一样的热情的。 从传统角度出发，严肃地说，Gary Moore留住歌迷的方法是他每一次新的作品一定是他至今为止最出色的作品，每一次的都使的人们要去重新看待Gary的东西。 这次，Moore和前Skunk Anansie的bass手Cass Lewis以及Primal Scream的鼓手Darrin Mooney组成了Scars这个金三角组合，新的专辑将会在9月2号，星期六问世。当Gary听Mooney的前面的两张专辑后，被这个鼓手的充满力量的、精确的鼓声打动了。同时在他寻找bass手来完成组合的时候，Darrin毛遂自荐。 他们在一起的第一次彩排就很完美、很轻松、很自然。无可厚非的这三人走到了一起。仅仅几个月后，他们的新专辑就大功告成了。重金属、旋律、扭曲的摇滚又会另很多人着迷。 伴随着Gary Moore的音乐生涯的新的方向，新的乐队拥有更加强大的热情和纯粹的天才，显而易见，2002年，Gary Moore不会再忧郁了！One of rock's most underrated guitarists (both from a technical and compositional point of view), Gary Moore remains relatively unknown in the U.S., while his solo work has brought him substantial acclaim and commercial success in most other parts of the world — especially in Europe. Born on April 4, 1952, in Belfast, Ireland, Moore became interested in guitar during the '60s, upon discovering such blues-rock masters as Eric Clapton, Jimi Hendrix, and perhaps his biggest influence of all, Fleetwood Mac's Peter Green. After relocating to Dublin later in the decade, Moore joined a local rock group called Skid Row, which featured a young singer by the name of Phil Lynott, who would soon after leave the group to double up on bass and form Thin Lizzy. Skid Row persevered, however, eventually opening a show for Moore's heroes, Peter Green and Fleetwood Mac, and making such an impression on the veteran group that Green personally requested their manager help secure Skid Row a recording contract with CBS (in addition, Green sold Moore one of his most-used guitars, a maple 1959 Gibson Les Paul Standard, which would become Moore's primary instrument).Skid Row would go on to issue several singles and albums (including 1970's Skid and 1971's 34 Hours), and although the group mounted a few tours of Europe and the U.S., it failed to obtain breakthrough commercial success, leading to Moore's exit from the group in 1972. Moore then formed his own outfit, the Gary Moore Band (along with members drummer Pearse Kelly and bassist John Curtis), for which the guitarist also served as vocalist. But after the trio's debut album, 1973's Grinding Stone, sunk without a trace, Moore hooked up once more with ex-bandmate Lynott in Thin Lizzy. Moore's initial tenure in Lizzy proved to be short-lived, however, as his fiery playing was featured on only a handful of tracks. Moore then set his sights on studio work (appearing on Eddie Howell's 1975 release, Gramaphone Record), before joining up with a prog rock/fusion outfit, Colosseum II. But once more, Moore's tenure in his latest outfit was fleeting; he appeared on only three recordings (1976's Strange New Flesh, plus a pair in 1977, Electric Savage and War Dance), as Moore accepted an invitation by his old buddy Lynott to fill in for a Thin Lizzy U.S. tour, playing arenas opening for Queen.Moore proved to be quite busy in 1978, as the guitarist appeared on three other artists' recordings — Andrew Lloyd Webber's Variations, Rod Argent's Moving Home, and Gary Boyle's Electric Glide. The same year, Moore issued his second solo release (almost five years after his solo debut), Back on the Streets, which spawned a surprise Top Ten U.K. hit in May of 1979, the bluesy ballad "Parisienne Walkways," and featured vocal contributions by Lynott. Moore joined forces with his Lizzy mates once more in 1979, appearing on arguably the finest studio album of their career, Black Rose, which proved to be a huge hit in the U.K. (for a fine example of Moore's exceptional guitar skills, check out the album's epic title track). But predictably, Moore ultimately exited the group once more (this time right in the middle of a U.S. tour), as a rift had developed between Moore and Lynott. Undeterred, Moore lent some guitar work to drummer Cozy Powell's solo release, Over the Top, in addition to forming a new outfit, G Force, which would only remain together for a lone self-titled release in 1980.During the early '80s, Moore united with former ELP guitarist/bassist/singer Greg Lake, appearing on a pair of Lake solo releases (1981's self-titled release and 1983's Manoeuvres), in addition to guesting on another Cozy Powell solo release, Octopuss. But it was also during the '80s that Moore finally got serious with his solo career — issuing such heavy metal-based works as 1982's Corridors of Power, 1983's Victims of the Future, 1984's Dirty Fingers and the in-concert set We Want Moore!, 1985's Run for Cover, 1987's Wild Frontier, plus 1989's After the War — establishing a large following in Europe, despite remaining virtually unknown stateside. The decade wasn't all rosy for Moore, however — although he was able to patch up his friendship with Phil Lynott (appearing with Lizzy for several tracks on Life/Live, and teaming with Lynott for a pair of tracks in 1985, "Military Man" and "Out in the Fields," the latter a U.K. hit), years of hard living finally caught up with Lynott, leading to his passing in January of 1986. Moore would subsequently dedicate "Wild Frontier" to Lynott, and honored Thin Lizzy's former frontman on the track "Blood of Emeralds" (from After the War).Fed up with the pressure to pen hit singles and tired of his metallic musical direction, Moore returned to his blues roots for 1990's Still Got the Blues, the most renowned and best-selling release of his career, as the album featured such special guests as Albert Collins, Albert King, and George Harrison. Moore continued in his newly rediscovered blues style on such subsequent releases as 1992's After Hours and 1993's Blues Alive, before forming the short-lived supergroup BBM along with Cream's former rhythm section — bassist Jack Bruce and drummer Ginger Baker — which lasted for a single album, 1994's Around the Next Dream. Up next for Moore was a tribute album for Peter Green, 1995's Blues for Greeny, which saw him put his own personal stamp on 11 tracks either penned or performed at some point by Green. Moore experimented with different musical styles on his next two solo releases, 1997's Dark Days in Paradise and 1999's A Different Beat, before embracing the blues once more on his first release of the 21st century, 2001's Back to the Blues.Over the years, Gary Moore has been the subject of countless compilations, the best of the bunch being 1998's metal-oriented Collection and 2002's blues-based Best of the Blues, as well as Out in the Fields: The Very Best of Gary Moore, which was split 50/50 between his metal and blues excursions. Teaming with Skunk Anansie bassist Cass Lewis and Primal Fear drummer Darrin Mooney, Moore started work on much harder and alternative-influenced rock in the spring of 2002 and released the results as Scars. The powerful Live at Monsters of Rock from 2003 proudly declared "no overdubs used" while 2004's raw Power of the Blues featured nothing but the blues, as did 2006's Old New Ballads Blues on Eagle Records.