Gary Moore

ARTICLE ABOUT Skid Row (Irl) FROM New Musical Express, February 13, 1971

This band was never a great success outside the UK and Ireland, but they were very important just by their members.
Almost “everyone” knows that Gary Moore played with them, but Phil Lynott was also a member for a short while.
Paul Chapman, later known for his work with UFO, was also a full time member of this band. If Moore had stayed with them, I wonder what would have happened, but Moore quit the band in December 1971.
Read on!


Skid Row, serving out the humble pie

By Nick Logan

THE first homegoing — particularly when laced with the opportunity of proving the cynics wrong before their very eyes — must be one of the most sweetly satisfying rewards of success. Rarely can it have been more lip-smackingly enjoyable than on Skid Row’s early January return to their native Ireland.
Seven packed shows in five major cities culminated in a 2,500 sell out at Dublin Stadium where there was a good portion of humble pie to be eaten, as well as local pride to be aired, among the former associates, journalists, friends and relatives who turned out to welcome them home.
It was the diminutive trio’s first return, on a working or personal basis, to the Ireland they left seven months earlier as one of the many bands that head for the land of musical opportunity but invariably return home disenchanted. At the time, their friends, and one of the Irish music magazines, gave them three/four weeks before they’d be home wiser, but poorer.
Even so, they could hardly have returned much poorer. Manager Clifford Davis, who also handles Fleetwood Mac, had to mail over their air fares to get the three of them to England in the first place, and then, once here, had to set them up with a complete set of equipment. Guitarist Gary Moore, relieved by thievery the day before they left, didn’t even have a guitar.
Once equipped and set up in a house in the East End, Davis got to work. Using the experience that made Fleetwood Mac a major club attraction long before they were pulling in the record buyers, Davis set about booking Skid Row round the important British venue. The trio for their part demonstrating their determination to make it by, in the early days, sleeping in the back of their Transit after gigs to cut hotel costs.
The result today, with an American tour behind them, is a band of influential admirers forwarding their name as the next attraction to join the big league by the end of ’71 and, more concrete, a date sheet as packed as a Waterloo timetable which Davis is fond of displaying with pride.
The Irish tour came soon after the end of their two-month American trip which, according to Skid Row bassist Brush Shiels, Christmas Day father to a baby son, considerably broadened the group’s knowledge and expertise.
They are now — Gary Moore and drummer Noel Bridgeman nod in agreement — much tighter and less “slick” than they were. Explains Shiels: “We realised it was all getting a little too premeditated. Twenty minutes for drums, fifteen for guitar solos… we began to know exactly when the applause would come.
“Since America we’ve become less mechanical and do more jamming.”

None of them were particularly impressed with the groups they saw in the States, where in their view it is easier to perpetuate a hype than in England. Shields cites the Stooges and Grand Funk Railroad as examples, mentioning Mountain as one of the better of the heavy bands.
Of the bands they were billed with, the trio scored some success supporting Jethro Tull in Cleveland — the night Glen Cornick was leaving. Shields, Moore and Bridgeman admit that Jethro were, if not their biggest influence, among the bands that inspired them during their formative years in Ireland.
Says Brush: “We’d be playing down the bill with these English bands that came over and, until we saw them, we didn’t realise just how inferior we were.”
Adds Gary Moore: “Over there we’d have all these people coming up and saying how good we were and, if you’re not careful, you can start believing it.”
The group recognises that much of its success comes down to the brilliant, precocious guitar playing of Moore, the first potentially big guitar virtuoso to emerge in a long time.
All of them are wary of the danger that if Gary receives all the attention they could follow the road of Taste, but feel they have covering insurance in the fact that, on stage, they are most definitely a three piece band. “Everybody gets a look in,” they point out harmoniously, “and roughly every three numbers everyone gets a go on his own.
Main priority now is the second LP. The first was attempted twice, initially on a two-day trip to London. “At the time we thought it was okay but when we heard it again later we thought it was terrible,” says Shiels, pointing out that the trio was then into a semi-country, Band-like bag.
When they acquired new management, Davis had the album re-made, dropping most of the original material, and although the end product stands up as a good reflection of Skid Row they recognise that it is not the best they can produce.
Their view, from contact with buyers, is that the album bears comparison if bought before seeing the band live but if heard the other way round is disappointing in contrast.
“We can play a lot faster than we did on that album,” comments Moore, “as we’ve found out from tapes people have made of shows. In fact we didn’t realise how fast we were.”
They feel they are best as a live band nevertheless and all three – although Davis thinks it might be too adventurous at this stage in their development would like the second album to be a live recording.
Despite all the accolades, Skid Row’s most concrete claim towards future fame is still in their date sheet. So far they have an enviable 100 per cent re-booking record at all the gigs they’ve played.


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ARTICLE ABOUT Skid Row (Gary Moore) FROM New Musical Express, September 12, 1970

One of the very earliest articles with Gary Moore? Possibly – as he was only 18 at the time. Little did he or the world know of what a great career he would have. Possibly one of the greatest guitarists in the 20th century.
Read on!


Don`t thumb a nose at Skid Row

By Nick Logan

FOR an eighteen-year-old just starting from basement level in the music business, Gary Moore isn’t afraid to speak his mind. Moore is the whiz-kid lead guitarist of Irish progressive trio Skid Row and if you are already turning up a snooty nose at the thought of an Irish progressive band, he gets in first with this about London audiences:
“They tend to overestimate bands in London. They can’t tell the difference between a good group and a bad group. There are a lot of people making it who shouldn’t be.
“It definitely doesn’t depend on your musical ability. It depends, it seems, on your act and who is behind you.”
Hotly tipped as the next big name to emerge on the progressive front, Skid Row arrived in Britain two months ago, settling down in a flat in a glamourless part of the East End. Already they have caused quite a stir on the club circuit.
I met Gary — a quietly-spoken young man despite his forthright opinions — at the NME recently and we ended up, appropriately enough, at Mooney’s Bar in the Strand where he proceeded to destroy the Irish myth by ordering a coke.
From Belfast himself, the others in the band are from Dublin. Brush Shiels, the bassist and the main source of the group’s strong visual appeal, is the founder member, writing most of their material. Gary joined two years ago, with drummer Noel Bridgeman — he’s left and re-joined three times — making up the trio.
Voted top group of the year by an Irish music magazine they had, according to Gary, gone as far as they could in their home country. “The whole scene is dominated by showbands. It’s a closed shop because the people who manage the showbands invariably also have an interest in the ballrooms too.
“There are no good groups in Ireland. There are good musicians in showbands but they are just content to sit back and get the bread. That could have happened to us. Brush and Noel have both had offers to join showbands.”
They are managed now by Clifford Davis, also manager of Fleetwood Mac, who first saw them when they supported the Mac on a Dublin concert. Peter Green raved over Moore’s guitar technique as many visiting British groups had before him and Davis admits, “We had a bit of a tough job following them.”
Later, before Davis and Skid Row crossed paths again and signed contracts John Peel went over to Ireland to compere the magazine award presentations and has been an ardent supporter ever since. Through the presentations CBS also got to hear of them and signed the group to a recording contract.
They were brought over to London and were given three days to cut an album and single; the end result falling far short of their expectations. Davis has since had the album completely redone and it is released by CBS this week.
A precocious talent, Gary Moore has been said to be a rival for Alvin Lee’s “Fastest Guitar In The West” title and he comments: “I don’t work things out. I am just very lucky that I can play like that but although it’s fast it’s still got taste… whereas people like Alvin Lee can play fast but it is just completely tasteless.”
He describes Skid Row’s music as fast and furious and quite complex… intricate music. We never keep to the same time signature for very long. It’s the way I would have liked Cream to develop.”


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ARTICLE ABOUT Gary Moore FROM SOUNDS, February 1, 1975

An article from the time when Mr. Moore were on the verge of wasting away three years with Colloseum II, when he and Phil Lynott together were a match made in heaven. Well, at least that`s my opinion and I have nothing against Colloseum at all, but I just feel that Gary should have spent these years in another way than he did. He was such a great talent – we all miss his very emotional and wonderful guitar-playing.


True Stories: boy protege comes good

Gary quits Skid Row and Thin Lizzy but finds happiness is a warm Hiseman

By Pete Makowski

Remember super speedo guitarist Gary Moore? Well it seems a lot of you do gathering from enquiries that have filtered into the office. The last heard from Gary he was in Thin Lizzy – a short-lived stay. Then apparently Gary went to Germany to sort things out.
In fact, Moore`s been in Britain since August when he met that ace skin beater Jon Hiseman. “We met out of musical frustration. We were both sitting at home thinking of packing it in. I didn`t want to do anything unless it was with the best people.”
Before we get into Moore`s present plans let`s take a look into his illustrious past, at only 22, Moore has matured into one of Britain`s major guitar talents.
Moore`s professional career began when he was sixteen with a band called Skid Row formed by bass player Brush Shields. Wasn`t it in fact Brush who taught Moore how to play?
“That was bullshit, I was playing for seven years before that… Brush taught me a few things,” he replied with a sly grin. “I had a lot of experience in that band but a lot of people wanted us to be something we weren`t… the next Led Zeppelin or something like that.”
Even then Moore`s guitar prowess was stunning to say the least. The band brought out two albums on CBS then split, from there Moore formed his own band. “I took what was available… there were so many hassles and in the end we couldn`t afford to keep it going. That band taught me a lot – never to do it again.
“The whole band didn`t pull its weight, some people were committed to the music and some were there for the ride. Carrying passengers doesn`t go down in my book.” Out of that came an album `Grinding Stone`. “That was supposed to be a double, it doesn`t sound balanced as a single record set.”
So again Moore moved on to join the ranks of Lizzy. “I had a good time but it got to the point where I realised that Phil (Lynott) didn`t need me there, his songs were strong enough, he just needed some people to fill out the sound.”


Moore`s eyes immediately lit up when I asked him about his present position. At present the band consists of Hiseman, ex-Blodwyn bassist Andy Pyle and Gary. They are currently looking for a singer and keyboards player.
The band have been rehearsing five days a week for the last few months: “We get there at ten in the morning and go on through till five, there`s no mucking about. It`s difficult to describe the type of music we`re playing in words.
“We`re trying to set a different direction, not like Yes, but we`re not going to blow people`s ears off. I know we`re going to have a hard time when we start gigging. I know we`re going to get a hammering from the press or maybe go over people`s heads but we`re not going to change for anybody.
“Jon Hiseman has taught me a helluva lot,” said Moore with some reverence. “He played me things by people like Coltrane that I had never heard before. He also wants it to be known that this is not his band.”
The band have already written some material, Gary composes while Hiseman writes the lyrics then they work it out together in rehearsals. “Jon gives me the lyrics and I take them home, take them apart and work melodies out. “We do other people`s material like Joni Mitchell`s `Down To You` and a Jack Bruce number but they`ve both got our trademark.
“The good thing about this band is that we`ve had a lot of experience in the music business itself. We`re not going to be rushed into any deals, we`re all free of contracts. All the gear we`ve got belongs to Jon`s PA company so we`re pretty independent.
“We`re not going to record an album until we`ve been on the road for at least three months cause that`s when it`s peaking. And when we do record an album it`s going to have a very live feel.”
There`s still the vocalist to find, they`ve already tried Graham Bell and Steve Yorke. “There is one guy that I think will be joining but I can`t tell you his name at the moment. Y`see this band`s got so much scope, there aren`t any restrictions but the hardest part is finding suitable people.
“We`ve all been searching for a band like this. We`re all on the same level musically, all we have to do is take it by the reins and go.”
One of Moore`s future ambitions is to play with an orchestra. “If I did something like that in a few years time I`d be a very satisfied person. I`m starting to take my own direction as a guitar player. If you asked me about a year ago who I am influenced by then I would have said Hendrix or Zappa while now it`s different. My style changes every year… now I want to play 1975 style.”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Average White Band, Chick Corea, Gilbert O`Sullivan, Guess Who, Led Zeppelin, Trapeze, John Martyn, John McLaughlin, Billy Connolly, J. Geils Band, John Holt, Hall & Oates, Donovan, Country Joe McDonald, Golden Earring.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to:
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.