Gary Moore - After Hours* [Paperback]

Gary Moore (Author)

Book Description

Publication Date: June 1, 1993

Matching folio, including: Story Of The Blues * Separate Ways * The Hurt Inside * Nothing's The Same * and more.

Product Details

• Paperback: 102 pages
• Publisher: Hal Leonard Corporation (June 1, 1993)
• Language: English
• ISBN-10: 0793520592
• ISBN-13: 978-0793520596
• Product Dimensions: 11.9 x 8.9 x 0.4 inches
• Shipping Weight: 12.8 ounces
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #2,667,629 in Books (See Top 100 in Books)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars I'll have some Moore!, November 8, 2004

By 

Doug "Doug" (United States) - See all my reviews

This review is from: Gary Moore - After Hours* (Paperback)

I think this is Moore's best blues album overall. And this folio seems a fairly accurate interpretation of events. Get it and write your own 'Story Of the Blues'.

First, it seems that most of the English blues players (Clapton, Green, Taylor, etc.), favor right hand timing and execution over left hand technique. However, Gary Moore can do it all. He has both incredible right and left hand ability. This likely the result, of long experience with playing harmonic minor structured hard rock and classical themes (i.e. G Force, Coloseum, Thin Lizzy, Andrew Lloyd Weber's 'Paganinni Variations').

And while Moore stays well within a blues structure here, cuts such as 'Story Of the Blues' and 'Only Fool In Town', yield his trademark extended scalar outbursts. And such rapidity here is better seen as a product of right hand technique, rather than a product of complicated left hand fingerings. For it's by 'picking economy' and 'sweep and roll' that such blistering pentatonic passages are executed.

Take for example, the bombastic opening cadenza to Moore's 'End Of the World' (Corridors of Power/Early Years). It utilizes a complex harmonic minor scale and not a simple pentatonic blues scale. Yet on 'After Hours', Moore applies a similar style of overwhelming technique to the blues idiom, while staying totally faithful to the form. Which is so commendable, for I truly don't think a technically gifted player like say, Ying-Yang Malmsteen, could play with any true conviction in the blues. However, Moore could cut heads with Ying-Ding all day long in Em, then sit in with B.B. King that evening and play an F# 7 that'd make all of Memphis weep.

More importantly in seeking your own voice, would be to appreciate Moore's legato style and vibrato, which shows his ability to wring every bit of nuance and soul from a note. Just check out 'Jumpin' At Shadows', with its slow groove and 'dih-dah' phrasing.

Also, Moore favors Les Pauls to play the blues, while much of his hard rock stuff is played on Strats. Again, it only goes to show Moore's incredible talent; being able to make a Les Paul sound so expressive.

Added, if you can find the folio for 'The Early Years', pick it up as it is excellent. And with its transcription to 'End Of the World', you can scare all the small children and bunny rabbits in the surrounding area.