Gary Moore

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.

ARTICLE ABOUT Thin Lizzy FROM SOUNDS, March 23, 1974

This one should be very interesting for all fans of both Thin Lizzy and Gary Moore. Too bad this interview wasn`t longer but we will take what we can get in relation to these artists. Enjoy.


Lizzy: back in action

By Ray Telford

Phil Lynott, standing long and lean over the control desk at Decca`s Tollington Park studio, swapped toothy grins of approval with Gary Moore as the backing track for one of the band`s new songs ripped from the huge suspended speakers.
The sessions had been booked for work to begin on a new Thin Lizzy album. Having almost fully recovered from the swift and totally unexpected departure of guitarist Eric Bell last Christmas, Phil reckoned the best plan would be to get the band with Eric`s replacement Gary Moore back into recording as soon as possible.
Eric`s splitting from Lizzy brought with it more outcry from dedicated fans than they`d anticipated. On the previous two Lizzy albums currently available – “Shades Of A Blue Orphanage” and “Vagabonds Of The Western World” – he was seen to be fast developing a unique and refreshing approach to playing the electric guitar and his leaving, according to Phil was subtly assisted by the fact that Eric`s ideas about how things should sound were not wholly in tune with the general direction of the band.
“The thing about Eric collapsing from nervous exhaustion,” went on Phil, “was played up a bit – I mean it wasn`t so bad as it appeared to be in some of the papers. But as a musician Eric is a kind of delicate guy and it shows through in his playing – I think he was getting to feel a bit uncomfortable playing with us just before he left.”
Eric left the band after their Christmas gig in Dublin shortly after they`d begun an Irish tour. At two days` notice Gary Moore stepped in and completed the tour: “There was about two days` rehearsal with Gary,” said Phil, “and after that it really sounded a whole lot better than we`d ever dreamed it would. That Irish tour and the present English tour has got us working together pretty well.


Gary Moore`s guitar has added a sting to Lizzy`s music that was previously missing. He employs a lot more attack than Eric Bell, a style which also happens to suit Phil`s zippy bass style a whole lot better. Before joining Thin Lizzy Gary had first made a name for himself during his time with Skid Row, an amazingly under-rated Irish trio from three years back who failed to get off the ground largely through business and management. He then formed his own Gary Moore Band who suffered a similar fate but through it all Gary`s reputation as one of the most exciting and inventive guitar players stuck fast.
“I think Gary is naturally an adaptable musician – not that he ever sacrifices his own thing because he`s too strong a player for that to happen, but as far as this band goes he`s fitted in really nicely.
“Gary`s a good writer too and the amount of ideas he`s come up with for the new album is incredible. There`s like a revitalising thing going on right now which has given everybody a bit of a lift. There`s more than enough material for this album, probably even the stuff we`ve written since Gary joined would be enough.”
Lizzy`s charts success last year with “Whisky In The Jar” Phil still reckons was a good thing for the band. Certainly it never landed them with any kind of one hit wonder tag because the single was innocently incidental, a pleasant surprise you might say which didn`t seem to affect the group`s hipper club following. Up to now the main of Lizzy`s material has come from Phil whose lyrical talents have grown considerably over the space of two albums. He sees “Vagabonds Of The Western World” as something of a transformatory experience: “At the time we were doing it it felt right and there were some good songs on the LP. We spent a lot of time thinking about how we wanted the thing to feel and getting moods right. I think it showed a little more of true potential which up to then maybe hadn`t shown through.”
The new album the band are co-producing with Nick Tauber with whom they also worked on “Vagabonds Of The Western  World”: “As things stand right now,” said Phil, “we`re happy enough about the band in the studio. The material is strong and mature enough and we`re getting it down exactly how we want it.”


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: Marsha Hunt, Dave Dee, Robert Wyatt, Procol Harum, Golden Earring, Kilburn & The High Roads, Cat Stevens, Zzebra, Johnny Winter, Elkie Brooks, Alvin Lee, Hudson-Ford, Canton Trig.

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.

ARTICLE ABOUT Colosseum from New Musical Express, August 9, 1975

What a terrible start to the year of 2016 – not before we had come to terms with the loss of Lemmy, then we had to cope with losing another great artist – David Bowie. Many have tried to express in words what these losses mean for them, but there really ain`t no words doing them justice. We will just have to be grateful for the music that they brought to the soundtrack of our youth and to our life as adults. In this interview we meet another great artist that the world lost in 2011. Have a good read and may the rest of the year be better than the start of it!


`What we have here, I think, is quite extraordinary (It bloody well better be)`

Colosseum, dismembered 1971, comes together again under the guiding fist of drummer Jon Hiseman. Steve Clarke was there (and glad of it).

Like a brand new love affair, the most optimistic part of a band`s history is just after its being formed. There are exceptions like the recent Jack Bruce/Mick Taylor-/Carla Bley falling out, but usually that`s the rule. And Jon Hiseman`s Colosseum II are no exception.
Ever since the original (well, hardly original because the first Colosseum had four line-ups) split up back in 1971, Hiseman`s credibility has suffered measureably. Tempest, the band Hiseman formed to play rock `n` roll as opposed to the synthesis of rock, blues and jazz which was Colosseum, went through personnel changes almost from its inception.
And while there was nothing wrong with the musicians who made up the band (two of England`s finest Seventies guitarists Alan Holdsworth and Ollie Halsall served in the band for varying lengths of time) the music was hardly entirely successful.
The material wasn`t that strong, the concept behind the band didn`t suit Hiseman`s playing the way Colosseum`s or, come to that, John Mayall`s music had and the band often seemed at odds with each other musically.

Tempest fell apart last year, each musician, says Hiseman, getting involved in different projects on their days off; Halsall gigging more and more with Kevin Ayers and bassist Mark Clarke working with Uriah Heep`s Ken Hensley until it became clear that the musicians weren`t that keen to work together.
Nevertheless, Hiseman refuses to admit that Tempest was a failure even if he does concede that the band were exceedingly erratic in performance.
Jon`s new partner in Colosseum, Gary Moore, thinks otherwise and, what`s more, believes Hiseman, himself, thinks otherwise. While we chat in the band`s publicist`s flat waiting for Hiseman to show up – delayed because of an accountant`s meeting – he postulates as to Hiseman`s true feelings on Tempest. “Jon didn`t enjoy that at the end,” confides Moore, an exceptionally affable Belfast-born Irish guy with a certain hippy ambience, long straggly dark hair and patched jeans.
“That band got silly. Any criticism you could level at that he`d shake your hand on it. It`s the endless search for finding people to play with and to write with.
“I thought Tempest was a failure,” Gary concludes.

Moore, you may remember, originally appeared on British shores with an Irish three-piece heavy-metal outfit back in `68 called Skid Row. Moore was their rather extravagant guitarist.
But, like almost everybody else, they split, Moore forming his own band for a time called, aptly enough, The Gary Moore Band. They recorded one album for CBS which according to Moore wasn`t very good. “You get bands complaining about record companies, saying they lost our last album. That`s bullshit, if an album is good enough it`s going to sell. That wasn`t good enough.”
Moore subsequently joined that other Irish band, Thin Lizzy, with whom he parted company last April because their music was too simple for him “It wasn`t enough of a challenge. I wanted something more interesting”.
From then on Moore would be more choosy about just who he played with. “I didn`t want to get into anything permanent unless it was with the best musicians I could find,” he says.
Moore had, in fact, been a long-time admirer of Hiseman, Blackheath-born, now in his 31st year, and one of the numerous musicians responsible for the British r`n`b movement of the mid-Sixties when he gigged with the late Graham Bond, taking over from one Ginger Baker.

“The first thing I like about Jon`s drumming is the sheer power behind it,” explains Gary. “You really feel that when you`re playing with the guy. It`s not just a thing you hear. It`s a physical thing.
“He`s a very misunderstood musician. People always regard him as a jazz musician (Hiseman spent some of his early days playing in various jazz combos). He doesn`t want to know about playing that kind of stuff. He`s a rock `n` roll drummer. A rock `n` roll musician today isn`t someone who bashes chords out and plays them four-four all the time.”
And here Moore digresses to talk about just what he thinks is going on in music these last few years: “Whereas before you had all the old Yardbirds things and John Mayall and a big blues thing happening, you`ve now got people like John McLaughlin who`ve really opened up a lot of doors for people. It was there all the time but no one would kind of step out.”
So who`s gone through these doors? “There`s been a lot of little counterparts since the Mahavishnu. You`ve got Billy Cobham coming out of that with his band. You`ve got Larry Coryell and Chick Corea getting into new forms of music.”
But surely that`s not a dominant force, but part of the whole diverse scene? “I don`t think it is that diverse any more. I think that kind of thing is going to set the direction. If you look at what Eric Clapton and Jimi Hendrix were doing seven years ago, that was very diverse in its way because it wasn`t the kind of guitar playing people heard on 45s.

“When Hendrix came along, people said, `No. That`s going too far`. And the next thing you know… Look at singles today and you`ll see that everybody`s playing that kind of guitar, even Mud. They`re all playing Sixties blues guitar.”
True enough, but I think we`ve lost the point. Carry on though. “John McLaughlin has just taken it one stage further. He`s brought a new approach to playing. I don`t like John McLaughlin. I never will but he has taken the whole thing a stage further. And if ever there was a new Cream I feel it was the Mahavishnu. Cream to me was a collection of the best musicians in their respective fields who came together and burnt themselves out after a few years.
“The Mahavishnu did the same things `cause there was so much creative energy involved in that project…”
But to get to the point… because believe you me this is a story of how true searching won in the end… Moore had quit Lizzy and was looking for the perfect band. Hiseman wasn`t doing too much in particular apart from watching his band go off with other people.
Then Moore read that Hiseman was looking for new musicians to re-form Colosseum in “of all papers” (Moore`s words) Melody Maker. So he called him up. And that was about last spring/early summer.


Over to Hiseman who has now turned up from his accountant`s meeting, apologising and sweating most profusely. He asks his lady publicist for a cold drink. There`s no beer so he settles for an orange squash.
As he tells it, he, Moore, Mark Clarke – Hiseman`s bassist since about two-thirds of the way through Colosseum Mk. 1 – and Graham Bell, a singer who was once signed to Charisma Records and has been seen at various ligs a little on the legless side, got together for “exploratory talks and a quick knock”.
It didn`t work out though, Clarke splitting to America to work with Hensley and Bell losing interest. The two of them stayed together though.
Moore: “Jon and I decided we had a very good basis for forming a band.
“We hit it off musically and wanted to do something that nobody else was doing – to find a hot instrumental-based band with strong vocals. You`ve got people like the Mahavishnu who do great instrumentals and you`ve got Zeppelin who`ve got a good vocalist, but there`s no one doing both.”
Page, Paul-Jones and Bonham might have something to say about that, but to continue: “At this time you could categorise everyone`s material. They`re either into funk or they`re into jazz-rock… You can put them all into little bags of their own. We want to do something different, to get away from the easy categorisation.

“We decided to stick it out till we found the right people. I`d written a few things for Jon at the time. He was writing the lyrics and I was putting the music to them and we had to find someone with a tremendous range to cope with the material.
“I`m one of these people who, when I write on the guitar, I tend to forget people`s capabilities. And the next thing you know is that you`ve written this amazing collage of notes that people can`t really reach unless they`ve got a wide range.”
Hiseman and Moore then spent a rigorous few months searching the pubs and clubs of the land until, Geronimo, Mike Starrs was discovered singing in some East End pub… a Scotsman who in the past has sung with such non-entities as The Debonaire Showband and Spinning Wheel.
Meantime some guy called Duncan McKay, then with, of all bands, Cockney Rebel, was due to come in on keyboards. He didn`t make it, though, and after auditioning something in the region of 55 keyboard players they found Don Airey, formerly of Cozy Powell`s Hammer. Neil Murray, also from Powell`s band, completed the line-up on bass.

Colosseum II have been rehearsing as a band for two and a half months now and apart from new material, composed by Moore and Hiseman, they`ll probably include the old Graham Bond/Colosseum chestnut “Walkin` In The Park”, Jack Bruce`s “Morning Story” from his “Harmony Row” album and, would you believe, a version of Joni Mitchell`s “Down To You” from her “Court And Spark” album. They reckon it`ll be better than how Nazareth covered Joni`s “This Flight Tonight”.
It needs to be.
Unlike some artists who`ve previously tasted mucho acclaim, Hiseman`s band`ll start at the bottom, touring British clubs and colleges in November after which they hope to go into the studio (they`re signed to Bronze records) in time to have an album out in the New Year. Tickets for these gigs will be kept to a minimum, says Hiseman.
Regarding the decision to call the band Colosseum – it contains only Hiseman from the original band – Moore says it was mostly his decision: “A lot of people were pushing Jon to use it. It was my decision if anything because he felt obligated to the others from the old band. He didn`t want to feel as if he was riding on their backs.”

Of the band, Hiseman has this to say: “What we have now, I think, is quite extraordinary. It bloody well better be or there`ll be trouble,” he grins. “I think for a start we`re playing in an area of music which isn`t being played by anyone else.
“I still think it`s worth calling it Colosseum II because it has this quality about it which makes it quite different – just as the first Colosseum was something totally extraordinary in terms of what it was playing for the time.
“The various influences and the crosses that were in it, I feel there are in this band too.”
He does, however, say that you can`t compare the two bands musically. “I think the people who enjoyed the first band will enjoy this. And it wouldn`t have surprised me if with a few judicious personnel changes we wouldn`t have been playing roughly in this kind of area had the band continued in the first place.
“The key to it was Gary who seemed to think about things the way I do. To be absolutely honest in the first Colosseum I never found anybody who was exactly where I was at which is why it broke up so quickly.”
Gary says that he and Jon haven`t had one single cross word in a year. “It`s never even got like an argument,” he says. Ah, true love.


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Gary Holton, Rod Stewart, The Who, Aston Barrett, Isaac Hayes, Mike Gibbs, Tim Hinckley.

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 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.