By the late '90s, guitarist Gary Moore was at a career crossroads. Should he continue on the path that brought him his biggest stateside success (Still Got the Blues), or try something a bit contemporary? The ex-Thin Lizzy member decided on the latter, issuing Dark Days in Paradise, an album that saw Moore utilize electronic beats and, of course, his trademark soaring guitar work, rather than blues-rockers. And you have to give the guitarist credit – he does venture outside of what you'd usually expect from a new Moore album, whether it be the Beatlesque "One Fine Day" (which contains a bassline quite similar to the Fab Four's "Rain") or the keyboard-heavy ballad "Like Angels" (which sounds like it's straight from 1987). Dark Days in Paradise will be an interesting listen for fans curious to hear Moore trying new approaches. The album was reissued & remastered in 2003 with three bonus tracks.

Not many true guitar gods have walked this earth. In the hands of these rare beings, the guitar is more than a six stringed musical instrument; it is a source of immense power, a weapon of mass destruction, a light saber, the most magical of wands, capable of removing a groupy’s panties with a single note…

Not wanting to leave a good thing behind, Moore reprises Still Got the Blues on its follow-up, After Hours. While his playing is just as impressive, the album feels a little calculated. Nevertheless, Moore's gutsy, impassioned playing makes the similarity easy to ignore.

A collection of previously unreleased songs from Gary Moore's substantial body of outstanding work in his back catalogue. The album contains 4 originals, and 4 songs previously recorded and made famous by classic bluesmen like Elmore James, Sonny Thompson, Memphis Slim and BB King. It's our hope that current and future generations of music fans discover and re-discover Gary Moore, revelling in the artistry of not just a great guitarist, but a supremely talented musician. Back to the future with Gary Moore.

A collection of previously unreleased songs from Gary Moore's substantial body of outstanding work in his back catalogue. The album contains 4 originals, and 4 songs previously recorded and made famous by classic bluesmen like Elmore James, Sonny Thompson, Memphis Slim and BB King. It's our hope that current and future generations of music fans discover and re-discover Gary Moore, revelling in the artistry of not just a great guitarist, but a supremely talented musician. Back to the future with Gary Moore. "How Blue Can You Get" is available on light blue 180 grams vinyl and a Limited Deluxe CD.

How Blue Can You Get, a collection of previously unreleased songs from Gary's substantial body of outstanding work in his back catalogue. The album contains 4 originals, and 4 songs previously recorded and made famous by classic bluesmen like Elmore James, Sonny Thompson, Memphis Slim and BB King.

Skid Row was a Dublin based blues-rock band of the late 1960s and early 1970s, fronted by Brendan "Brush" Shiels. It was guitarist Gary Moore's first professional band. Not to be confused with the platinum-selling glam metal miscreants active in the late 1980s, the original Skid Row blazed a much overlooked trail some 20 years prior, as one of Ireland's earliest contributors to the hard rock field.

With countless Gary Moore compilations released over the years, it's understandable for fans to greet the release of yet another, 2006's Platinum Collection, with skepticism. But what differentiates this three-disc set from the previous compilations is that it does a fine and dandy job of collecting highlights from all phases of Moore's career – heavy metallist, mainstream melodic rocker, and blues enthusiast. A cover of the Yardbirds' "Shapes of Things" allows Moore to show off his smoking six-string skills, and serves as proof that with a little more luck, Moore would have been up there with Van Halen, Vai, and Satriani as top rock guitarists of the '80s. Elsewhere, a pair of tracks recorded with the late great Phil Lynott – "Parisienne Walkways" and "Out in the Fields" – show the promise that future collaborations between these onetime Thin Lizzy bandmates held, if Lynott hadn't senselessly died young. Also, you'll find tracks that show Moore streamlining his sound in hope of crossover success – which he did obtain in Europe ("Over the Hills and Far Away," "Wild Frontier") – as well as his early-'90s rebirth as a bluesman ("Still Got the Blues," "Oh Pretty Woman," "Since I Met You Baby").

With both sides of their very obscure two non-LP, pre-first-LP 1969 singles (originally issued on the small Dublin label Song), as well as three tracks from a 1971 BBC session, this CD rounds up the most interesting Skid Row recordings not to appear on their albums. That doesn't mean, however, that these tracks are too impressive in their own right. The first of the singles, "New Places, Old Faces"/"Misdemeanour Dream Felicity," are primarily of interest for being the first official release to feature future Thin Lizzy mainstay Phil Lynott (who sings on the A-side, Gary Moore taking the lead on the flip).

This is the first of Irish guitar virtuoso Gary Moore's true heavy metal albums. Boasting a crisp, aggressive sound, Corridors of Power kicks off with the foot-stomping "Don't Take Me for a Loser," delivers the token power ballad in "Always Gonna Love You," and floors the gas pedal on "Rockin' Every Night." However, the album's climax has to be the epic "End of the World," with it's two-minute long guitar solo intro and vocals courtesy of Cream's Jack Bruce.

1979 was a busy year for Irish guitarist Gary Moore, who after years of seemingly aimless wandering across the musical landscape (including a flirtation with jazz-rock fusion while fronting G-Force) simultaneously re-launched his long-dormant solo career and became a full-time member of Thin Lizzy. Moore had originally agreed to help his old partner in crime Phil Lynott only temporarily, while longtime Lizzy guitarist Brian Robertson recovered from a broken hand incurred in a barroom brawl…

On 24th November 2017 BMG proudly release Gary Moore’s Blues and Beyond, a remarkable collection of his powerful and emotive blues studio recordings. Blues and Beyond is released on double CD, 4 LP and as a box set, which includes unreleased live recordings and the official Gary Moore biography I Can’t Wait Until Tomorrow written by Harry Shapiro. Best known for his evocative solo hits, Parisienne Walkways and Still Got the Blues (live versions feature in this set), and his on/off membership of Thin Lizzy, Gary Moore’s solo career comprises over twenty albums. Throughout the 1980s, Gary moved up the rock hierarchy, but turned his back on what he regarded as the empty flash of metal and reverted to his heart music – the blues – where ironically he scored his biggest commercial success through his 1990s and 2000s blues albums.

Rockin' Every Night – Live in Japan is a live album recorded by Gary Moore at Tokyo Kōsei Nenkin Kaikan in 1983, during the Corridors of Power tour. Despite being released in Japan in 1983, it was not given a European release until 1986. The 2002 CD reissue included three live tracks recorded at the Marquee, London on 26 August 1982, originally from a bonus EP included with the first 25,000 vinyl copies of Moore's earlier album Corridors of Power. The song "Sunset", which had been a staple of Moore's live setlist since 1980 - despite not appearing in studio form until 1982, when it surfaced on Cozy Powell's Tilt album - is dedicated to the late Randy Rhoads, who had died several months prior. Keyboardist Don Airey had previously recorded and performed with Rhoads in Ozzy Osbourne's backing band during the Diary of a Madman tour.

This album is a jaw-dropping affair for anyone who believes that Eddie Van Halen is the ultimate guitar-shredding experience. Gary Moore's classic live album We Want Moore! is about as good as it gets. Drawing mainly from the Irish guitarist's previous two studio albums, every cut gets a shot in the arm from Moore's extended soloing, most notably the Yardbird's "Shapes of Things" at almost nine minutes. Recorded in places as distant as Tokyo, Glasgow and Detroit, the performances also benefit from the impressive vocal tag team between Moore and rhythm guitarist Neil Carter.