블루스 명곡모음 앨범 전곡듣기 Feel the Blues Vol.Ⅵ-3
[참 조] ▒ ▒ ▒ Red Hot Blues - Discography ▒ ▒ ▒ |
News About the Blues [2001년] | 
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| 1 Not by Man Alone 3:05
2 99 Pounds 3:18
3 You Walked Out on Me 4:39
4 Damn Your Eyes 4:10
5 Bad Thing 3:00
6 Where You Been So Long 5:04
7 Guilty 5:25
8 Waitin' on the Hurricane 5:38
9 Last Call for Love 5:33
10 News About the Blues 3:17 |
[참 조] ▒ ▒ ▒ Peter Green & Fleetwood Mac - Biography ▒ ▒ ▒ |
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플리트우드 맥의 역사는 가장 뛰어난 백인 블루스 기타리스트의 한 명으로 인정되는 피터 그린으로부터 비롯되었다. 다른 많은 천재들이 그랬듯, 약물 남용과 편집광적인 괴팍한 성격으로 특징 되는 피터 그린은 1946년 10월 29일, 런던에서 피터 그린봄(Peter Greenbaum)이라는 본명으로 태어났다. 어린 시절부터 머디 워터스(Muddy Waters)와 비비 킹(B.B. King) 등 유명한 블루스 뮤지션들의 여러 작품들과 유태인의 전통 음악에 영향을 받은 그는 1966년, 이후 카멜(Camel)에서 활동하게 되는 키보드 연주자 피터 바든스(Peter Bardens)의 그룹 피터 비스 루너스(Peter B's Looners)의 멤버가 된다. 이 즈음 브리티시 블루스 계의 대부로 손꼽히는 존 메이욜(John Mayall)의 그룹 블루스브레이커스(Bluesbreakers)는 에릭 클랩튼(Eric Clapton)의 탈퇴로 기타리스트의 자리가 비어 있었고, 결국 열 아홉 살의 피터는 블루스브레이커스의 정식 멤버가 된다.
‘플리트우드 맥’이라는 그룹명이 만들어지게 된 계기는 꽤 재미있다. 피터가 스무살 생일을 맞이하자 존 메이올은 그에게 생일 선물로 몇 시간 동안 스튜디오를 마음껏 사용할 수 있도록 했다. 몇 시간의 세션을 통해 그는 연주곡 하나를 녹음했는데 그 곡의 제목이 바로 ‘Fleetwood Mac'이다. 이 독특한 제목에 대해 피터는 블루스브레이커스의 멤버들인 믹 플리트우드와 존 맥비가 세션에 참여하여 연주를 했기 때문에 그들의 이름을 딴 이 제목을 떠올릴 수밖에 없었다고 밝힌 바 있다. 1967년, 에릭 클랩튼이 다시 복귀를 하자 피터 그린은 자신이 그룹을 떠날 때가 왔음을 알아챘다. 결국 그는 과한 음주를 이유로 존 메이올에게 해고당한 믹 플리트우드와 함께 새로운 밴드를 시작하기로 하고 자신들이 연주했던 노래의 제목을 그대로 그룹명으로 하여 플리트우드 맥을 결성한다.
리바이 세트(Levi Set)라는 그룹의 기타리스트였던 제레미 스펜서, 그리고 (임시)베이시스트 밥 브루닝(Bob Brunning)을 맞이한 밴드는 1967년 8월 13일, 영국 재즈 및 블루스 페스티벌을 통해 공식적인 무대 데뷔를 이루었다. 곧 블루스브레이커스로부터 존 맥비를 영입하여 완전한 라인업을 갖춘 플리트우드 맥은 신생 레이블 <블루 호라이즌(Blue Horizon)>과 계약을 맺고 10월에 첫 싱글 ‘I Believe My Time Ain't Long'을 발매한다. 이듬해에 이들은 브리티시 블루스의 정수를 담은 두 앨범 [Peter Green's Fleetwood Mac]('68)과 [Mr. Wonderful]('68)로 영국 내에서 그 실력을 인정받았다. 이후 피터는 열 여덟 살의 기타리스트 대니 커원을 새로이 발굴해냈고 트리플 기타의 편성이 된 밴드는 유럽 내에서 완전한 전성기를 맞이하게 된다.
'69년 한 해 동안 첫 히트 싱글 ‘Black Magic Woman'을 필두로 하여 영국 차트 1위를 차지한 ’Albatross'와 ‘Oh Well' 등 초기 플리트우드 맥을 대표할 수 있는 여러 싱글들이 발매되었다. [English Rose]와 [The Pious Bird Of Good Omen], [Fleetwood Mac In Chicago], 그리고 [Then Play On] 등 1969년에 발표된 네 장의 앨범들에서 이들이 지닌 역량은 여지없이 드러난다.
1970년 봄, 환각제의 남용으로 심각한 정서 장애에 시달리던 피터 그린이 갑작스레 밴드를 떠났다.
▶ Band Line Up ◀
Peter Green - vocals, guitar, harmonica
Jeremy Spencer - vocal, guitar
John McVie - bass
Mick Fleetwood - drums
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While most bands undergo a number of changes over the course of their careers, few groups experienced such radical stylistic changes as Fleetwood Mac. Initially conceived as a hard-edged British blues combo in the late '60s, the band gradually evolved into a polished pop/rock act over the course of a decade. Throughout all of their incarnations, the onl y consistent members of Fleetwood Mac were drummer Mick Fleetwood and bassist John McVie the rhythm section that provided the band with its name. Ironically, they had the least influence over the musical direction of the band. Originally, guitarists Peter Green and Jeremy Spencer provided the band with its gutsy, neo-psychedelic blues-rock sound, but as both guitarists descended into mental illness, the group began moving toward pop/rock with the songwriting of pianist Christine McVie. By the mid-'70s, Fleetwood Mac had relocated to California, where they added the soft rock duo of Lindsey Buckingham and Stevie Nicks to their lineup. Obsessed with the meticulously arranged pop of the Beach Boys and the Beatles, Buckingham helped the band become one of the most popular groups of the late '70s. Combining soft rock with the confessional introspection of singer/songwriters, Fleetwood Mac created a slick but emotional sound that helped 1977's Rumours become one of the biggest-selling albums of all time. The band retained its popularity through the early '80s, when Buckingham, Nicks, and Christine McVie all began pursuing solo careers. The band reunited for one album, 1987's Tango in the Night, before splintering in the late '80s. Buckingham left the group initially, but the band decided to soldier on, releasing one other album before Nicks and McVie left the band in the early '90s, hastening the group's commercial decline.
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The roots of Fleetwood Mac lie in John Mayall's legendary British blues outfit, the Bluesbreakers. Bassist John McVie was one of the charter members of the Bluesbreakers, joining the group in 1963. In 1966 Peter Green replaced Eric Clapton, and a year later drummer Mick Fleetwood joined. Inspired by the success of Cream, the Yardbirds, and Jimi Hendrix, the trio decided to break away from Mayall in 1967. At their debut at the British Jazz and Blues Festival in August, Bob Brunning was playing bass in the group, since McVie was still under contract to Mayall. He joined the band a few weeks after their debut; by that time, slide guitarist Jeremy Spencer had joined the band. Fleetwood Mac soon signed with Blue Horizon, releasing their eponymous debut the following year. Fleetwood Mac was an enormous hit in the U.K., spending over a year in the Top Ten. Despite its British success, the album was virtually ignored in America. During 1968, the band added guitarist Danny Kirwan. The following year, they recorded Fleetwood Mac in Chicago with a variety of bluesmen, including Willie Dixon and Otis Spann. The set was released later that year, after the band had left Blue Horizon for a one -album deal with Immediate Records; in the U.S., they signed with Reprise/Warner Bros., and by 1970, Warner began releasing the band's British records as well.
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Fleetwood Mac released English Rose and Then Play On during 1969, which both indicated that the band was expanding its music, moving away from its blues purist roots. That year, Green's "Man of the World" and "Oh Well" were number two hits. Though his music was providing the backbone of the group, Peter Green was growing increasingly disturbed due to his large ingestion of hallucinogenic drugs. After announcing that he was planning to give all of his earnings away, Green suddenly left the band in the spring of 1970; he released two solo albums over the course of the '70s, but he rarely performed after leaving Fleetwood Mac. The band replaced him with Christine Perfect, a vocalist/pianist who had earned a small but loyal following in the U.K. by singing with Spencer Davis and the Chicken Shack. She had already performed uncredited on Then Play On. Contractual difficulties prevented her from becoming a full-fledged member of Fleetwood Mac until 1971; by that time she had married John McVie.
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Christine McVie didn't appear on 1970's Kiln House, the first album the band recorded without Peter Green. For that album, Jeremy Spencer dominated the band's musical direction, but he had also been undergoing mental problems due to heavy drug use. During the band's American tour in early 1971, Spencer disappeared; it was later discovered that he left the band to join the religious cult the Children of God. Fleetwood Mac had already been trying to determine the direction of their music, but Spencer's departure sent the band into disarray. Christine McVie and Danny Kirwan began to move the band towards mainstream rock on 1971's Future Games, but new guitarist Bob Welch exerted a heavy influence on 1972's Bare Trees. Kirwan was fired after Bare Trees and was replaced by guitarists Bob Weston and Dave Walker, who appeared on 1973's Penguin. Walker left after that album, and Weston departed after making its follow-up, Mystery to Me (1973). In 1974, the group's manager, Clifford Davis, formed a bogus Fleetwood Mac and had the band tour the U.S. The real Fleetwood Mac filed and won a lawsuit against the imposters after losing, they began performing under the name Stretch but the lawsuit kept the band off the road for most of the year. In the interim, they released Heroes Are Hard to Find. Late in 1974, Fleetwood Mac moved to California, with hopes of restarting their career. Welch left the band shortly after the move to form Paris.
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Early in 1975, Fleetwood and McVie were auditioning engineers for the band's new album when they heard Buckingham-Nicks, an album recorded by the soft rock duo Lindsey Buckingham and Stevie Nicks. The pair were asked to join the group and their addition revived the band's musical and commercial fortunes. Not onl y did Buckingham and Nicks write songs, but they brought distinctive talents the band had been lacking. Buckingham was a skilled pop craftsman, capable of arranging a commercial song while keeping it musically adventurous. Nicks had a husky voice and a sexy, hippie gypsy stage persona that gave the band a charismatic frontwoman. The new lineup of Fleetwood Mac released their eponymous debut in 1975 and it slowly became a huge hit, reaching number one in 1976 on the strength of the singles "Over My Head," "Rhiannon," and "Say You Love Me." The album would eventually sell over five million copies in the U.S. alone.
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While Fleetwood Mac had finally attained their long-desired commercial success, the band was fraying apart behind the scenes. The McVies divorced in 1976, and Buckingham and Nicks' romance ended shortly afterward. The internal tensions formed the basis for the songs on their next album, Rumours. Released in the spring of 1977, Rumours became a blockbuster success, topping the American and British charts and generating the Top Ten singles "Go Your Own Way," "Dreams," "Don't Stop," and "You Make Loving Fun." It would eventually sell over 17 million copies in the U.S. alone, making it the second biggest-selling album of all time. Fleetwood Mac supported the album with an exhaustive, lucrative tour and then retired to the studio to record their follow-up to Rumours. A wildly experimental double album conceived largely by Buckingham, 1979's Tusk didn't duplicate the enormous success of Rumours, yet it did go multi-platinum and featured the Top Ten singles "Sara" and "Tusk." In 1980, they released the double-album Live.
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Following the Tusk tour, Fleetwood, Buckingham, and Nicks all recorded solo albums. Of the solo projects, Stevie Nicks' Bella Donna (1981) was the most successful, peaking at number one and featuring the hit singles "Stop Draggin' My Heart Around," "Leather and Lace," and "Edge of Seventeen." Buckingham's Law and Order (1981) was a moderate success, spawning the Top Ten "Trouble." Fleetwood, for his part, made a world music album called The Visitor. Fleetwood Mac reconvened in 1982 for Mirage. More conventional and accessible than Tusk, Mirage reached number one and featured the hit singles "Hold Me" and "Gypsy."
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After Mirage, Buckingham, Nicks, and Christine McVie all worked on solo albums. The hiatus was due to a variety of reasons. Each member had his or her own manager, Nicks was becoming the group's breakaway star, Buckingham was obsessive in the studio, and each member was suffering from various substance addictions. Nicks was able to maintain her popularity, with The Wild Heart (1983) and Rock a Little (1985) both reaching the Top 15. Christine McVie also had a Top Ten hit with "Got a Hold on Me" in 1984. Buckingham received the strongest reviews of all, but his 1984 album Go Insane failed to generate a hit. Fleetwood Mac reunited to record a new album in 1985. Buckingham, who had grown increasingly frustrated with the musical limitations of the band, decided to make it his last Fleetwood Mac project. When the resulting album, Tango in the Night, was finally released in 1987, it was greeted with mixed reviews but strong sales, reaching the Top Ten and generating the Top 20 hits "Little Lies," "Seven Wonders," and "Everywhere."
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Buckingham decided to leave Fleetwood Mac after completing Tango in the Night, and the group replaced him with guitarists Billy Burnette and Rick Vito. The new lineup of the band recorded their first album, Behind the Mask, in 1990. It became the band's first album since 1975 to not go gold. Following its supporting tour, Nicks and Christine McVie announced they would continue to record with the group, but not tour. Vito left the band in 1991, and the group released the box set 25 Years ? The Chain the following year. The classic Fleetwood Mac lineup of Fleetwood, the McVies, Buckingham, and Nicks reunited to play President Bill Clinton's inauguration in early 1993, but the concert did not lead to a full-fledged reunion. Later that year, Nicks left the band and was replaced by Bekka Bramlett and Dave Mason; Christine McVie left the group shortly afterward. The new lineup of Fleetwood Mac began touring in 1994, releasing Time the following year to little attention. While the new version of Fleetwood Mac wasn't commercially successful, neither were the solo careers of Buckingham, Nicks, and McVie, prompting speculation of a full-fledged reunion in 1997. Say You Will, the first Fleetwood Mac studio album in 15 years, appeared in April 2003. It also marked the group's first set without Christine McVie since 1997's live effort, The Dance.
[참 조] ▒ ▒ ▒ Gary Moore - Biography ▒ ▒ ▒ |
“뮤지션이 나이를 먹어간다는 건 결코 두려운 게 아니다. 그것은 곧 정신적인 면에서 더욱 성숙해져서 감정을 적절히 조절해 음악활동을 할 수 있기 때문이다.”
유례가 없을 만큼 강력한 왼손과 오른손으로 정통 록기타의 진수를 들려주는 게리 무어는 기성 기타리스트 모두가 부러워하는 살아있는 록기타의 화신이다. 1954년 6월 4일 아일랜드에서 태어난 게리 무어는 일렉트릭 기타를 10살 때부터 치기 시작했다. 처음 기타를 잡을 당시 그의 우상은 지미 헨드릭스와 제프 벡, 피터 그린 등이었다. 그는 이러한 기타리스트의 곡을 카피하며 아마추어 시절을 보냈다.
16세가 되자 게리는 ‘Skid Row’라는 밴드를 결성해 정식으로 록계에 데뷔하였는 데, 이 당시 스키드 로우는 블루스와 하드록 소울 등이 섞인 음악을 연주하였다. 스키드 로우 해체 후 게리는 에릭 벨의 후임으로 그룹 씬 리지(Thin Lizzy)에 가입 좋은 연주를 들려주었다. 그러나 게리는 이즈음 음악적으로나 인간적으로나 가장 많은 방황과 갈등을 겪고 있었는 데, 이 때문에 씬 리지에서도 그는 오래 있지 못하고 탈퇴하였다. 그리곤 자신의 독자적인 ‘게리 무어 밴드’를 결성해 73년 [Grinding Stone]을 발표하였다. 2년 후인 75년에는 재즈퓨전을 프로그레시브하게 연주했던 그룹 콜로세움Ⅱ에 가입, [Strange New Flesh](76)와 [Electric Savage], [WarDance](77) 등에 참여하게 된다. 그룹 콜로세움 투는 게리 무어를 맞아들여 인스트루멘틀 재즈록 지향의 뛰어난 음악세계를 한껏 과시할 수 있었다.
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78년에 게리는 존 하이스먼, 돈 에일리 등의 콜로세움 친우들과 앤드류 로이드 웨버의 녹음작업에도 참여했다. 얼마 후 게리는 탈퇴한 브라이언 로버트슨의 후임으로 다시 씬 리지에 들어가 명반[Black Rose]녹음을 도왔다. 그리고 비슷한 시기에 자신의 첫 솔로앨범 [Back On The Street]을 완성하기도 했다.
씬 리지의 앨범작업을 마친 게리는 다시 그룹을 탈퇴하고 79년에 드러머 코지 파웰의 첫 솔로앨범을 세션해 주며 때를 기다리게 된다. 그러다가 80년에 ‘제트’레코드와 계약하고 그룹 G-Force를 결성했다. 현재까지도 록 역사의 명 그룹으로 기록되는 지 포스는 수많은 뮤지션과 팬들의 관심 속에서 셀프 타이틀의 데뷔앨범을 녹음하였다. 하지만 뜻하지 않게 제트 레코드가 도산해버리는 바람에 지 포스는 난관에 봉착되고 말았다. 결국 이 그룹은 제대로 활동도 못하고 해산되고 게리는 81년말 ‘버진’레코드사와 계약을 하고 이듬해에 명반 [Corridors Of Power]를 발표했다. 그리고 이 앨범을 시발로 게리는 본격적인 솔로 뮤지션으로의 길을 가기 시작했다.
솔로 뮤지션으로 활발한 활동을 벌인 게리는 90년대로 들어와 그간의 헤비메틀 지향의 기타에서 벗어나 블루스 쪽으로 눈을 돌리게 된다. 그 첫 신호탄이 바로 90년의 앨범 [Still Got The Blues]이다. 이 앨범이후 게리는 완전히 블루스 뮤지션으로 그 모습을 바꾸어 현재에 이르고 있다.
게리 무어의 연주는 강력하고 어태키한 피킹과 지판을 짓눌러 버릴 것만 같은 정력적인 핑거링을 주축으로 초강력 에너지를 발산하는 프레이즈를 들려준다. 한때 그는 라이트핸드를 사용하지 않고 라이트핸드적인 프레이즈를 치며, 풀링 오프나 해머링을 멋지게 사용해 스피디한 애드립을 전개하기도 했다. 이러한 형태의 프레이즈가 너무도 강렬해 때론 난폭하다는 인상을 줄 정도이다.
그는 헤비메틀 기타리스트이기 이전에 블루스 뮤지션이다. 그 때문에 그의 연주에선 고감도의 뜨거운 블루지함이 배어있다. 펜타토닉과 블루노트 스케일에 기반하여 마이너적인 느낌으로 음을 진행시킨다. 그외 디미니쉬와 도리안 등도 사용해 독자적인 멜로디라인을 창출한다. 거기에 그 특유의 다양한 초킹들이 얽혀 록의 정통성을 더욱 짙게 하고있다.
그는 언제나 최고의 음색을 추구해왔다. 콜로세움 Ⅱ에서 오늘날의 'Still Got The Blues'에 이르기까지 그의 기타 톤은 앰프자체의 게인을 최대한 활용한다는 점에선 가히 당대 최고중의 하나라 할만한 것이다. 공격적인 위협감과 우수어린 정서를 모두 뛰어나게 표현하는 그의 연주야말로 록기타 바로 그 자체인 것이다.
사 용 장 비
◇Gibson Les Paul Standard(59), Les Paul Junior(55), Fender Stratocaster(71),Charvel Strat, Hamer
◇Marshall 100W Amp, Soldano, Mesa Boogie
◇Roland Digital Delay SDE 2000 MXR Distortion, BOSS Overdrive Eventide Digital Delay, Marshall Gav’ner, Alesis MIDIVerb
[출처: 음악창고, 글 / 조성진]
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게리 무어(Gary Moore; 1952년 4월 4일 북아일랜드 Belfest 출생)는 자신의 그룹은 물론 많은 다른 사람들의 프로젝트에 참여하여 Heavy Metal에서 Blues까지 다양한 장르에서 그만의 피가 끓는 듯한 뜨겁고 처절한 연주를 들려준 기타연주자 겸 가수이다.
1. 10대 소년 Gary Moore와 Skid Row
그는 7세 때부터 부친의 권유로 피아노를 치기 시작했으며 그러던 중 Shadows의 음악에 깊은 감명을 받고 11세 때 기타연주자가 되기로 결심한다. 67년 본격적인 음악 활동을 위해서 Dublin으로 이주한 Gary Moore는 Skid Row(미국의 Heavy Metal 그룹인 Skid Row와는 다른 그룹)에 가입하게 되며, 여기서 그는 자신의 음악 여정에 막대한 영향을 줄 두 사람 -이후 그룹 Thin Lizzy에서 음악적 교류와 우정을 다지게 될 필 리뇻(Phil Lynott, v; 당시엔 아직 베이스를 배우지 않았다고 한다), 그리고 Skid Row를 Opening 밴드로 세워 후원해 줬으며 Gary Moore에게 직접 자신이 사용하던 기타를 선물로 주며 격려했던 Fleetwood Mac의 피터 그린(Peter Green)- 과의 운명적 만남을 가짐과 동시에 16세라는 어린 나이에 그의 재능을 확인 받게 된다.
Phil은 Thin Lizzy의 결성을 위해 Skid Row를 곧 떠나게 되어 Gary Moore는 나머지 멤버인 브랜던 쉴즈(Brendan "Brush" Shields, 베이스), 노엘 브릿지모어(Noel "Nollaig" Bridgemore, 드럼)의 3인조로 첫 앨범 [Skid]를 1970년 Peter Green의 소개로 CBS에서 발매한다. 이어서 71년 [34 Hours](이 앨범의 녹음을 34시간에 마쳐서 붙여진 제목이라고 한다)의 발표와 함께 유럽 공연을 가졌으며, 아일랜드 잡지 [New Spotlight]에서 그 해 최고의 밴드로 선정되기도 하였다. 다음 해 3번째 앨범을 녹음했으나 발매 전 Gary Moore가 솔로 활동을 위해 탈퇴하는 바람에 앨범 발매가 취소되어 90년에야 겨우 발매되게 된다.
2. 20대 청년 Gary Moore의 다양한 음악 체험
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Skid Row를 탈퇴한 Gary Moore는 73년 피어스 켈리(Pearse Kelly, d), 존 커티스(John Curtis, b)와 함께 그의 첫 솔로 앨범 [Grinding Stone]을 발표하였으나 큰 주목은 받지 못한 채 Phil Lynott의 권유로 당시 공석이던 Thin Lizzy의 기타연주자 자리를 얻게 된다. Thin Lizzy의 74년 앨범 [Nightlife]에서 Gary Moore가 참여한 것은 'Still in Love with You' 단 한 곡이지만, 이 곡은 그의 애절한 연주 덕분에 처음으로 대중적인 이름값을 얻는 계기가 된다. Gary Moore는 다시 Thin Lizzy를 탈퇴하여 Eddie Howell의 [Gramophone]에 세션으로 참가하기도 한다. 그러던 중 그룹 Colosseum의 존 하이스먼(Jon Hiseman, k)을 만난 그는 Colosseum II라는 실험적인 프로젝트에 참여한다. 여기서 그는 그와 함께 여러 그룹을 방랑하며 자주 마주치게 될 돈 에어리(Don Airey, k)와 활동한다.
Colosseum II와 76년 [Strange New Flesh], 77년 [Electric Savage], [War Dance]를 제작하였으며 이 앨범들은 비록 상업적인 성공은 거두지 못했지만 실험성 강한 명작들로 인정받는다. 78년 다시 Phil Lynott과 만난 Gary Moore는 2번째 솔로 앨범을 발표한다. 강한 Hard Rock 스타일의 [Back on the Streets]는 이 앨범에 수록된 너무도 유명한 'Parisienne Walkways'와 함께 본격적으로 그의 이름을 널리 알리게 된다. 79년 Gary Moore의 앨범에 우정 출현해 큰 성공을 거두게 해준 Phil Lynott은 이번에는 그를 다시 Thin Lizzy에 초대하여 명반 [Black Rose]를 완성시킨다. 하지만 투어 도중 말없이 사라진 Gary Moore는 Phil Lynott과 불편한 관계가 되고 만다.
이 시기에 Gary Moore는 역시 방랑 연주인이자 명 드럼연주자인 코지 파웰(Cozy Powell, d)의 솔로 앨범 [Over the Top]에 일부 참여한다. 80년 Gary Moore는 G-Force란 프로젝트를 결성하지만 좋은 결과를 얻지 못한 채 Emerson Lake & Palmer 출신의 그렉 레이크(Greg Lake)의 솔로 앨범에 참여하고 투어에도 동참한다.
3. 30대 Gary Moore의 정열적인 Heavy Metal
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82년은 Gary Moore에게 있어선 가장 바쁜 해이자 솔로로서 본격적인 활동을 시작한 해이다. 먼저 강력한 Heavy Metal 사운드와 감미로운 Rock Ballad가 어우러진 그의 앨범 [Corridors of Power]가 엄청난 앨범 판매고를 올렸으며, 동시에 [Live at Marquee] 앨범 녹음, Greg Lake의 [Manoeuvres], Cozy Powell의 [Octopuss]에도 참여하여 모두 좋은 성과를 거뒀다. [Corridors of Power]의 성공으로 일본에서 공연을 마친 Gary Moore는 당시의 실황인 [Rockin' Every Night]을 83년 일본에서만 발매한다. 동시에 Thin Lizzy의 고별 공연에 우정 출연해 주기도 한다.
84년 소련에 의한 KAL기 격추사건을 규탄한 'Murder in the Skies'와 그의 두 번째 히트 발라드 'Empty Rooms'가 수록된 [Victims of the Future]가 발매되었으며, 그에 따른 세계 순회 공연을 내용으로 한 [We Want Moore]가 발매된다.
이후 Phil Lynott과 화해한 Gary Moore는 공동작업으로 EP [Out in the Fields]를 85년 발표하지만 다음해 Phil의 요절로 결국 두 사람의 마지막 작품이 되고 만다. 이 앨범의 수록곡은 같은 해 발표된 [Run for Cover]에도 수록되었다. 87년에는 아일랜드적인 색채가 강한 [Wild Frontier]를 발표하였으며, 89년에는 블루스의 거장 Roy Buchanan의 명곡 'Messhia Will Come Again' 커버곡이 실린 [After the War]를 발표한다.
4. 40대 Gary Moore의 Blues로의 회귀
87년 [Wild Frontier]서부터 기존의 Heavy Metal로부터 탈피하려는 변화가 엿보이더니 마침내 90년 [Still Got the Blues]를 발표하여 본격적인 Blues로의 회귀라는 커다란 변화를 단행하였다. 앨버트 콜린스(Albert Collins)와 조지 해리슨(George Harrison)이 게스트로 참가한 이 앨범의 결과는 예상외로 좋아서 음악적으로 호평을 받았음은 물론 커다란 상업적 성공도 거두게 된다. 앨범 발표 후의 공연에서는 앨버트 킹(Albert King)까지 가세하여 Albert Collins와 함께 2명의 Albert와 같은 무대에 서기도 하였다.
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92년 [After the Hours] 역시 좋은 반응을 얻었으며 이번엔 비비 킹(B.B. King)과 Albert King이란 2명의 Blues 'KING'이 참가해 주었다. 거장들이 동참해준 멋진 실황은 93년 [Blues Alive]로 발매되어 다시 감상할 수 있는 좋은 기회를 만들어 주었다.
90년대 중반 Gary Moore는 헌정 앨범에 참여하거나 과거의 거장들과 활동하는 등 약간 독특한 활동으로 Blues음악을 추구한다. 93년 폴 로저스(Paul Rodgers)가 주도한 무디 워터스(Muddy Waters) 헌정 앨범에 참여하기도 하였으며, 95년에는 오래 전 그가 음악을 시작하던 무렵 큰 도움을 준 Peter Green에 대한 헌정 앨범 [Blues for Greeny]를 스스로 만들어 바치기도 하였다. 94년에는 Cream의 옛 멤버들과 BBM을 결성, [Around the Next Dream]을 발표하였다. 95년 베스트 앨범인 [Ballads & Blues 1982-1994] 이후에 발표된 앨범으로는 역시 베스트 앨범인 [Out in the Fields : The Very Best of Gary Moore](98)와 [Collection](99)이 있으며, 정규 앨범으로는 [Dark Days in Paradise](97)와 [A Different Beat](99) 등이 있다. 여기서는 정통 Blues보다는 Pop, Hard Rock, Jazz 등의 다양한 요소를 다시 도입해보려는 시도가 엿보이지만 전성기만큼 주목을 받지는 못하고 있다.
[출처:음악창고, 글 / 박준택]
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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 one 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 onl y 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 onc e more, Moore's tenure in his latest outfit was fleeting; he appeared on onl y 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.
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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 onc e 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 onc e 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 onl y 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).
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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 onc e 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.
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).
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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 onc e 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 onl y 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 onc e more, Moore's tenure in his latest outfit was fleeting; he appeared on onl y 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 onc e 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 onc e 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 onl y 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).
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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 onc e 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.
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