BY JIMI HOCKING

Gary Moore of course is true a guitar ‘hero’ with an impressive career. From humble beginnings in ‘Skid Row’; (no, not those guys in the lycra!) to his tenure with ‘Thin Lizzy’. (Readers with a little history will have fond memories of Gary tearing it up on Peter Green’s old Les Paul at the Sydney Opera House steps in 1978). Then on to a solo career releasing a number of successful hard rock recordings.

In 1990 it was risky to make the transition to the blues, but Gary did, spawning the hits ‘Still Got The Blues’ and a reworking of Jimmy Rodger’s ‘Walking By Myself’.

I have almost crossed paths with Gary Moore in the past, but missed out… so I was pleased to learn that Stomp Records would organise a phone interview with Gary to discuss his new album ‘Scars’.

When I spoke to Gary he was on tour in the UK, so it was an odd time of day here in Australia, in fact I would squeeze in our ‘chat’ moments before walking on stage for a gig myself.

I had the chance to hear the Scars album a couple of times, and made a few notes that I thought I would run past the man himself.

The album contains 10 tracks and sounds largely three piece, real power trio stuff. Joining Gary on the album are Cass Lewis from ‘Skunk Anansie’, and Darrin Mooney from ‘Primal Scream’. Cass and Darrin give the album a welcome contemporary edge, at times bringing a rock with ‘drum and bass’ loop style together.

Upon hearing the tracks, I couldn’t help but get the impression that the first four songs have a real ‘Cream’ vibe to them, maybe it’s the way ’When The Sun Goes Down’ opens up with a heavy ‘wah’ riff then rocks into that power trio thang. Then halfway through the album, the mood changes and the songs take on a very Hendrix feel.

I actually wonder if I will bring this up with Gary, I mean, I am a bit of a fan and I don’t want him to think I’m an asshole!

Our conversation warms up as it becomes apparent that I am not in fact a journo, but a musician. (Sorry folks, I don’t have a blow by blow of our discussion, but unfortunately I was in no position to record down the phone.)

I note to Gary that it’s cool to hear him use a Strat for this project, and wonder if the famed Les Paul appears at all. Like most guitarists, Gary perks up when the ‘guitar speak’ commences.

Gary tells me, he used a Strat for almost the entire project, a Les Paul appears on a couple of heavy riffs during ‘Stand Up’, and a new Gibson Explorer through a Mesa rectifier drive the track ‘Rectify’, he laughs and tells me the title does come from the amp.

It’s obvious that there is casual jamming feel to this stuff that begs to be played live, ‘Ball and Chain’ has a pure John Lee Hooker big beat blues, with shades of Jimi and Albert King in the solo. ‘Who Knows’ visits the pathways of SRV’s ‘Lenny’ before rocking out, Gary says it was Stevie who brought him back to a Strat for this material, and is in no way concerned with my comparisons.

So I hit him with my theory that the album seems to be in two parts, the opening rockers then almost at the end of track six the vibe changes and the spirit of Hendrix comes through the door… I can’t pretend I don’t hear the obvious 6/4 ‘Manic Depression’ feel laid down during ‘World Of Confusion’.

Gary responds with an almost ‘mock’ sombre tone, "you are absolutely right".

He tells me while hanging out with Cass, they got to talking about those great Hendrix feels, and eventually got together to jam. So along with Darrin and a handy 24-track HD recorder they recorded some stuff. The Hendrix influence is no secret; it’s unashamedly flaunted throughout.

It seems the second half of the album was recorded first. And I must say listening to Gary’s fretwork on this project, that to my ears this is a guitarist who has truly come of age. There is a happy marriage of Gary’s rock style laced with the tasteful bends and backslides of a blues man.

Me thinks Gary’s encounter with Albert King and Albert Collins has taken his voice to a new maturity.

Gary confesses that when he listens back to some of his earlier rock recordings, he hardly recognises himself, however I am quick to remind him that the ’ tear it up’ style he was playing was relevant to the era, and shouldn’t be taken out of stylistic context.

We talk some more about gear, Gary enthuses about the Line 6 Modelling Delay he uses, and tells me I have to check out the Fender ‘Tone Master’

Amp, he runs one with a Marshall 4 x 12 cab, but with Century speakers.

Before our conversation has ended, I have divulged to Gary that I too spent much of my earlier career in rock, but now do the T-Bone influenced blues thing. I feel a bit like a couple of guys wasting time in a guitar store...Gary is keen to know if I’m playing an ES-5, "Nah" I say, I use a L4-C or a 175.

Then almost when I feel like I’m getting to know the guy, a voice says: "Sixty seconds gentlemen’, so we politely say goodbye, and Gary says, "Have a good gig". I feel very satisfied to have Mr Moore say that, and I’m still grinning about it as I tune up.

The ‘Scars’ album should go a long way to satisfy Gary’s earlier rock fans, and more recent blues fans, but one thing is for sure, all ‘guitar nuts’ will lap it up.

‘Scars’ is out now through Stomp Records

Jimi ‘the human’ Hocking: www.jimihocking.com