Gary's Action Zone

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Welcome!
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Hello!

Finally another issue of GAZ!
Another issue will soon follow with info from my 5 shows in Denmark and Norway. Set-List and comments are featuring on the Web Page.
 

 Best Regards from.......
 Ole-Johan...............
 

The content this issue:

1. General News
2. Collectors News
3. Submissions - questions/answers/opinions from subscribers
4. FAN REVIEW FROM THE FORUM GIG IN LONDON
5. Fanzine Information
 

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1. GENERAL NEWS
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Gary Moore will NOT appear on the new Jack Bruce album, as stated on the Official Jack Bruce page. During the recording sessions for Jack Bruce in November/December, Gary was injured and he was playing a couple of shows.
 
 

Gary Moore was playing shows in Europe in March and April 2000.

Line Up:
Gary Moore - Guitar/Vocal
Pete Rees- Bass
Vic Martin - Keyboards
Graham Walker - Drums

Gary Moore has played/plays the following dates in 2000:

MARCH
10th - Elysee Montmarte, Paris, France
13th - Grosse Freiheit, Hamburg, Germany
14th - Grosse Freiheit, Hamburg, Germany
16th - Stadthalle, Lichtenfels, Germany
17th - Stadthalle, Offenbach, Germany
19th - E-Werk, Köln, Germany
20th - Columbiahalle, Berlin, Germany
22nd - Royal Court Theatre, Liverpool, UK
23rd - Barrowland, Glagsgow, Scotland
25th - City Hall, Sheffield, UK
26th - Corn Exchange, Cambridge, UK
28th - Colston Hall, Bristol, UK
29th - Guildhall, Portsmouth, UK
31st - The Forum, London, UK

APRIL
23rd - Congress Center, Amager, Denmark
24th - Cirkus, Stockholm, Sweden
26th - Concert House (Konserthuset), Oslo, Norway
27th - Concert Hall (Konserthuset), Stavanger, Norway - SOLD OUT
29th - Concert Hall (Grieghallen), Ole Blues Festival, Bergen, Norway - SOLD OUT
30th - Concert Hall (Olavshallen), Trondheim, Norway - SOLD OUT
Promotor for the Norwegian concert dates are: Next Step Production

MAY
17th - Linnhall, Tallinn, Estonia
18th - The New Arena, Saint Petersburg, Russian Federation
20th - Rock Gala Festival, Alborg, Denmark
 

The German Radio NDR 2 recorded the first Hamburg show, and will broadcast the whole show Monday 3. April. and 22. May 2000, and there was a clip from first Hamburg show on German TV ARD, containing excerpts of Oh Pretty Woman and Lost In Your Love as well an interview with Gary Moore.

The German radio station NDR2 broadcasted 3rd April 2000 the first part from the Hamburg concert the 13th March, the following songs were aired;
- Walking By Myself
- Oh Pretty Woman
- Lost In Your Love
- Need Your Love So Bad
- I Loved Another Woman
- Since I Met You Baby
- Surrender
- The Prophet* (This is not listed on the NDR2 web-page, <http://ndr2.de/musik/radiokonzert/index.html> But it was broadcasted)
- The Blues Is Alright
* = New Song

At the second night of the Hamburg gigs a camera crew from Hamburg1 recorded the first 3 songs, they will be broadcasted on a show called 'KUNUS' the 3rd or 10th May.

Aynsley Lister has made a cover of 'Since I Met You Baby' with Walter Trout. Gary wrote the song and he played it with BB King back in '92 on After Hours.  Aynsley Lister - Self-Titled - Ruf 1031 - Ruf Records (Released March '99)
 
 

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2. COLLECTORS NEWS
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There has been discovered a video 2 track containing live recordings of 'Fire' and 'Parisienne Walkways' from the concert in 8th July 1999, Montreux, Switzerland. This an official promotional release for Castle Offices only.
 

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3. SUBMISSIONS - QUESTIONS & ANSWERS
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From: T J N [mailto:oldman@centuryinter.net]
Subject: WHY?

The motivation of a record like This?? What was Moore thinking? It's all wasted on sampling, over produced sound mix's and sub par material. Are we suppose to take this seriously? I've been with Moore since 1983. And I mean there Have been no other players. Not like THIS man. I receive this CD and I had reservations about it right off the bat seeing as to how much more involved Gary was with the sound. Lets be Honest on the sound. It's atrocious to say the least. Is this Now about European dance music? Is it about Money? A friend of mine raised that theory. I think it holds the key to all of this. MONEY. Idea wise Gary has fallen in the past but He's always managed those 3-4 gems on each studio outing. WHERE do You find anything worthwhile, substance wise to speak of on this record? "Surrender" ? That's about ALL I can hear. I find it very Hard to criticize This man. In my life I hero worship one man. That's Jimi Hendrix. Gary Moore to me was the closest thing to this man. After a work like this...........................the man's credibility has fallen. So much so that what's next? A CD of Dance mix's? It's not even debatable as to the content of this CD. There's no original ideas there. He Saved them for What? The next direction that He chooses to take? I just don't get any of it. Is it that I'm missing something here?? I Want to like it. He over produced the Hell out of "Fire" Instead of just playing the god dammed thing! This Player is Still the greatest singer, songwriter, Guitarist going today BUT..................................BUT with another lackluster effort like this where will He be? That is Not meant as a knock. Deep in my very Soul Gary Moore resides. He literally does. He touches me as no other player can. But He Hasn't touched me since........................ He Hasn't Moved me since "Like Angels" "Afraid of Tomorrow" "Business as Usual" I MISS You Gary. PLEASE come back. "Please" You can you know. It's inside of you. You Just Have to Find it.
Thom Nicol
- END -

From: Dave&Annie Harris [mailto:dave.annie@xtra.co.nz]
Subject: WE WANT A TOUR IN NEW ZEALAND

LITTLE OLD NEW ZEALAND IS MISSING OUT ON SO MUCH OVER HERE.MY CHALLENGE IS FOR GARY TO CONE OVER HERE AND DO A COUPLE CONCERTS.THERE IS A LOT OF FANSHERE.SO WE WANT SOME CONCERTS.PLEASE PLEASE PLEASE PLEASE PLEASE PLEASE.

- END -

From: Stephen Humphries [mailto:stephenhumphries@hotmail.com]
Sunbject: Whatever Happened to Bob Daisley?

Dear OJ,

Here is one to add to the "Whatever Happened to Bob Daisley" file

-- best regards
Stephen.

OZZY AND SHARON OSBOURNE SUED FOR $20 MILLION
Ozzy Osbourne and his manager-wife Sharon Osbourne are among the defendants named in a $20 million lawsuit filed in Los Angeles by two former Ozzy band members who claim they haven't been properly paid for their past songwriting contributions, according to Variety.

Bassist Bob Daisley and drummer Lee Kerslake, who played on many of Osbourne's albums in the 1980s, are suing the Osbournes, as well as Sony Music Entertainment, Epic Records, and Blizzard Music (which publishes Osbourne's music), for substantial unpaid royalties. The two musicians are credited as co-writers on many of the songs on Ozzy's first two solo albums, Blizzard of Oz and Diary of a Madman.

This latest action suit follows a breach of contract suit filed against Sharon Osbourne by the Smashing Pumpkins (allstar Feb. 23(/cgi-bin/mserver/SID=InSeRtSiDhErE/pagename=/RP/ALLSTAR/article.html/fid=192101)) after Osbourne quit her position as that band's managerin January after only three months on the job. The Pumpkins are suing for the return of a $150,000 advance paid to Osbourne.

A spokesperson for the Osbournes declined to comment on the suit.

- END -

From: Lament Yannick [mailto:yalament@club-internet.fr]
Subject: Parisian Gig

Hi O-J,

It's Yannick, I just come from Paris, and yesterday, it was a very very great night.
The gig was better than bruxelles because he has played two songs he has never played before (he says).
In a very hot environment, he's begin to play the following track list :

Walking By Myself
Oh Pretty Woman
Lost In Your Love
Need Your Love So Bad*
I Loved Another Woman*
Since I Met You Baby
Surrender
Enough Of The Blues
Cold Black Night
All Your Love
Still Got The Blues
Fire
Too Tired
The Sky Is Crying
Further On Up The Road
The Blues Is Alright** (encore 1)
Parisienne Walkways (encore 2)

* : played with the E-S 355
** : played with the "Gary Moore Les Paul Standard"
Other one played with the Les Paul we can see in the cover of " Still Got The Blues".

To note the come back of Graham Walker on the drums.
Very great concert with a "Parisienne Walkways" during over ten minutes

- END -

From: LngALEX@aol.com [mailto:LngALEX@aol.com]
Subject: Gary Moore Concert in Cologne from this evening

Hello,
I like to give you my short view from the concert from this evening:
First of all: It was very great to see him again live acting on stage, but it was much too much too much too short - He played only 95 minutes:

Here's the setlist:

walking by myself
Oh pretty woman
Need your love so bad
Since I met you baby
Surrender
Cold black night
All your love
Still got the blues
Too tired
The sky is crying
Further on up the road
Fire (Encore 1)
The Prophet (Instrumental) (Encore 2)

Bye

Sascha Lang

- END -

Fra: Marko Plevnik [mailto:mp246@cam.ac.uk]
Sendt: 27. mars 2000 00:20
Til: backman@netcom.no
Emne: Gary Moore concert - Cambridge Cor Exchange 26th March
 

Hi there!

I first want to say what a great web page you have. Extremely informative.

I've just been to see Gary play here at the Corn Exchange in Cambridge. It was a fantastic concert, the best I have seen of Gary ever! He was in an extremely good mood and very playful - talking lots and getting the audience involved. The set was pretty much the same as all the UK shows in March:

Walking By Myself
Oh Pretty Woman
Need Your Love So Bad
Since I Met You Baby
Surrender
All Your Love
Still Got The Blues
Too Tired
The Sky Is Crying
Further On Up The Road

His first encore was Fire. He then came back to do a second and someone shouted out "Parisienne Walkways! Do it Gary!". He laughed but didn't play the song and instead did The Blues is Alright. He came back to do a third encore. I am not sure what the song was as I haven't heard it before. It was an instrumental played on the double cutaway Les Paul. It sounded very nice but everyone was restless when it finished so he shrugged and asked for his Peter Green Les Paul and of course played Walkways. It was an electric performance, extremely energetic. However, when he came to the part where he stops singing and holds the note/feedback for a long time (just before the solo), his finger slipped and he said something like " I can't do this!".

Everyone cheered and urged him on. He tried this part two more times but wasn't happy with it. He managed to get it perfect on the fourth attempt and proceeded with the solo which was, simply put, amazing. He looked very tired at the end of it all, but I think he enjoyed it all.

The encores were therefore as follows:

Fire (Encore 1)
The Blues Is Alright  (Encore 2)
The Prophet (Encore 3)
Parisienne Walkways (Encore 4)

Keep up the excellent work!

Regards,

Marko Plevnik
Cambridge, UK

- END -
 

From: Stewart Roberts [mailto:stew-r@totalise.co.uk]
Subject: Gary Moore

Hi again.

I have just been browsing your site (again..) and noticed the report from the Cambridge concert, and noticed this:-

"He then came back to do a second and someone shouted out "Parisienne Walkways! Do it Gary!". He laughed but didn't play the song and instead did The Blues is Alright".

and then this section:-

"but everyone was restless when it finished so he shrugged and asked for his Peter Green Les Paul and of course playedWalkways. It was an electric performance, extremely energetic. However, when he came to the part where he stops singing andholds the note/feedback for a long time (just before the solo), his finger slipped and he said something like " I can't do this!". Everyone cheered and urged him on. He tried this part two more times but wasn't happy with it. He managed to get it perfect onthe fourth attempt and proceeded with the solo which was, simply put, amazing".

Now, I know that Gary is best known for Parisienne Walkways, but come on guys, its knocking up 25 years old now. It's nice to see him play it, but he never seems happy playing it any more. I saw him at the 1999 Manchester show and he was, and there was no question, totally pissed off by the end of the gig, as everyone was requesting songs that were very old (Parisienne Walkways, Out in the fields, Empty Rooms etc). He did play Parisienne Walkways, but he wasnt in it really from what I could tell, and I have seen Gary play many times. I also disdinctly remember someone shouting "Out In The Fields", and Gary's reply "Long time twenty Years". Instead of going to see Gary play what you want him to play (out in the fields, the loner, empty rooms etc), why dont we go and see him play what he wants to play.

I dont mean to bitch guys, but let the guy play his new stuff. I'd rather go and see Gary play what HE wants to play with more emotion than watch him play what everyone else wants him to play without the emotion.

Stew

If anyone feels that they would like to comment on that, please feel free:-

Stew-R@totalise.co.uk

Totalise - the Users ISP
----------------------
Stew-R
Stew-R@totalise.co.uk

- END -
 

From: Tony Keegan [mailto:info@webfox.co.uk]
Subject: G Moore Review

Saturday 25th March saw a capacity crowd at Sheffield City Hall awaiting the arrival of Gary Moore on stage. "Can he still do it?" asked someone in the seat behind. Five minutes later and Moore was on stage ripping into the Gibson like he'd never been away. Total confidence and utter faith in his own awesome ability underscored this fantastic gig from of the worlds greats. One could here a pin drop between some bars as the crowd literally held their breath. I have never seen an audience so knocked out by a solo performer. Two hours later and without a break Gary ended with Parisienne Walkways. 'He just blew us away', said a voice in my ear has we filed out shellshocked. Couldn't agree more.

Tony Keegan
Sheffield
UK

- END -
 
 

- END -
 

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4. FAN REVIEW FROM THE FORUM GIG IN LONDON
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Here are a few thoughts on Gary's performance in London on Friday night:-

I was so glad to have travelled from the USA to see this gig. My only regret was that I didn't know I was going to be going to the UK any earlier and so the only tickets I was able to get were in the upstairs balcony. This  immediately put me at a disadvantage in viewing the concert as you lose so mch of the impact and atmosphere from a distance. There was a constant low frequency hum of people talking while the gig was going on, in addition to people getting up to get beer from the bar [I've never understood how people can get up mid concert to go get a drink -- I mean, are they there to see the concert or is the concert just background music for people who see the concert venue as a pub?]

Anyway, here is a review of the gig peppered with a few observations about these shows in context of Gary Moore's career.

The show started well with the audience downstairs singing loudly to Walking By Myself. I liked the way that Gary played two solos in this -- with the second solo being similar to the one we all know. This was followed by an enthusiastic but standard version of Oh Pretty Woman -- Gary was jumping about on two feet and bending down at the knees as his fingers flew along the fretboard. Sadly the sound wasn't great and many of the high notes got lost in the mix because of the dominant drums and bass.

What is interesting is how fiery Gary's playing was. His solos displayed the sort of rock/blues hybrid of the first trilogy of blues albums that he had avowed to avoid in future after he made his "first proper blues album" [his words] Blues For Greeny in 1995. Gary shouldn't fret about this [no pun intended] as I think his dynamic technique is a very natural way for him to express himself and it is just one dimension of his talent of expressing an emotion through 6 strings.

What Moore did demonstrate on Blues for Greeny was that he could play with great minimalism and restraint with a focus on guitar tone -- another aspect of his tremendously varied pallette of colours. The third track of the evening was from that album. Need Your Love So Bad was glorious and my brother, two friends and my girlfriend all agreed it was one of the highlights of the night.

Since I met You Baby was funkier than usual, and I liked the little three chord riff he introduced into the chorus. And then, Surrender, which was one of the great moments of the evening. I loved the rhythm bits before the solos and then the solo at the end was phenomenal. A good vocal too.

I wish that Gary had played more tracks from A Different Beat. But I imagine that the album has barely sold any copies at all, and that is the inevitable result of not having any radio play or outlet for the music to be discovered. Gary hardly toured the UK when he released both Blues for Greeny or Dark Days in Paradise. I think this hurt the success of those albums - I think that the sales of Still Got the Blues were helped by Gary's decision to tour a lot of smaller venues back in 1990. So the decision to tour extensively across the UK is a great opportunity for Gary to re-connect to a grassroots audience who haven't been keeping up with his more recent albums. If only he would tour the USA....

The downside of this is that most of the audience are very conservative musically and aren't prepared to explore Gary's recent forays into modern dance music. I think that is very sad as A Different Beat is one of the very best albums Gary has ever produced. Though guitarists like Jeff Beck and Joe Satriani have recently released very commendable albums with a dance influence, Gary's album demonstrates a real understanding of the genre with meticulous attention to detail of the rhythms and grooves. ADB incorporates Gary's natural affinity for pop music with some a great use of blues influenced guitar playing a to make for a very exciting and rewarding listen.

But Gary badly needs a commercial success now, and in recent interviews he has alluded to a yearning to return to playing his most successful genre -- the blues. Thus on Friday night we got a sneak preview of new material when A Cold Black Night was played. This number was a strident piece but my impression was that it was a very standard 12 bar blues riff -- and although I can still remember the tune, it didn't seem like anything special. It seemed more like a B - Side tune like Mean Cruel Woman. The solo was also overly long where it needed to be punchy and short. It just didn't seem very inventive. But a polished studio recording and a few listens will likely give me pause to reconsider that assessment.

All Your Love was vibrant and I liked that the solo was played at a slower meter than usual. Then Still Got the Blues ensued -- easily the most well received number of the evening as the crowd almost drowned out the music with their approval. Gary played a fiery version of the solo with great gusto which was very pleasing.

A candidate for best solo of the night was, surprisingly, Too Tired. Gary tore into this number and shredded a string on his Les Paul and yet played on unhindered. Poor Graham -- Gary's guitar tech -- had no sooner restringed the guitar on the side of the stage when Gary had worn out another string on his cherry red Gibson while playing The Sky is Crying. This version was fine, but not as tight or inspired as other versions I've heard. Gary went straight into Further On Up the Road with the string hanging limply off the fretboard and he only swapped the guitar for a Les Paul during the Hammond Organ solo. The traditional organ VS. guitar duel in this song was immensely satisfying with Gary peforming blistering Olympic-qualifying runs up and down the guitar.

Fire was excellent. This number has just gotten better since Gary debuted the song in Nottingham last July. It was like a shot in the arm before the first encore. As usual The Blues Is Alright was the first encore -- crowd sing-a-long included as usual. Gary is very canny at knowing how to structure some sure fire crowd pleasers and this is one of them. Then he returned for a second encore for Enough of the Blues. A song is difficult to assess on one listen and this song didn't really impress me -- the solo was good though.

Third encore. I go to a lot of concerts and it isn't often that you get a third encore, so I was pleased. The crowd was expecting Parisienne Walkways. Gary played the new instrumental, The Prophet, much to the confusion of the audience [I heard many people complaining that he hadn't played PW afterwards]. Personally, I didn't mind. I was utterly entranced by the beauty of The Prophet. It is another great addition to Moore's impressive selection of guitar instrumentals. The Prophet reminded me of Sunset [especially the keyboards] and also Dartmoore from the Cozy Powell days. It had a lot of notes played at the high end of the guitar and the song ended with a note that he sustained for an incredibly long period of time. I cannot wait to hear this song again.

As always it was a treat to see Gary play live. This wasn't even close to be as great a show as when I last saw him in Nottingham last year, but it wasn't bad at all. My girlfriend, who has only recently been exposed to Gary Moore, was impressed and enjoyed the show even though she hadn't expected to. And you couldn't get a better endorsement than that!

take care,
Stephen.
 
 

 
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 5. FANZINE INFORMATION
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Number of Subscribers: 300++
 

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All Back Issues are available at GAZ WWW-Page.

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For web-pages are listed at the GAZ Web page at 'Cool Links'

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OTHER GARY MOORE SOURCES:
The Gary Moore UK Appreciation Society
'Melodic Moore'
Tim & Lyndsey Flatley
14 Brynglas Close
Barnfield
Newtown
Powys SY16 2QD
UK

You can also contact Melodic Moore on this e-mail: lyndseyf@powys.tec.org.uk
 
 

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Editors:  Ole-Johan Backman: backman@online.no
   Arve Akervold: At the moment off-line, but use: backman@online.no
Contributor: Tomoyuki Yamazaki: bya07654@niftyserve.or.jp

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 Disclaimer
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The views expressed in 'GAZ' The Gary Moore Electronic Fanzine are the opinions of individual contributions and do not necessarily reflect the views of the contributor of the on-line service or employer. These views also in no way reflect the views of the editors of 'GAZ' or their service providers, except by coincidence.

Gary Moore or his management does not directly support ‘GAZ’. Any information given from those parties are written by the editors, extended with their personal views.

  - The GAZ Editors