Chords for Gary Moore talks blues rock

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_ _ _ _ _ So Gary, new album, Power of the Blues.
Pretty powerful stuff.
Yeah, I mean it's kind of like a blues album but it's played in a very rock, intense sort of way.
I wanted to almost bring some of the stuff that I'd learnt from the Scars kind of band and bring it into this again.
A very high energy sort of approach.
There's a lot of blues breakers.
Yeah, definitely.
Starting point but you've gone on from there quite a lot.
Yeah, I mean I think it goes back to songs that I knew very early on like I Can't Quit You Baby and Evil.
_ _ They're very well known Willie Dixon songs but they're obviously done by quite a few different people.
[G] I Can't Quit You Baby was done by Zeppelin, by John Mayall when Mick Turner was in the band.
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[G] _ Obviously Otis [Gb] Rush did a very well known version.
I think he did a couple of versions of it actually.
The title track is [Ab] Power of the Blues.
The riff was kind of [C] _
[A] a_
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[Dm] _ _ _ [G] _ _ So that's just kind of like a 12 bar with that sort of [Bb] rock riff but then it goes into [C] a shuffle in the middle and sort of goes_
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_ [G] Which it kind of goes back to blues breakers days in a way.
Well they're in reverse [N] because I thought_
Oh you love the kind of vibe.
Yeah, when they did the kind of_
when they went from the kind of samba sort of vibe into the shuffle and that.
And then it goes back to the kind of rock thing at the end again.
So I quite like the idea of doing that sort of tempo shift.
It gives it a bit of a shock value in the middle as well.
We've talked before about this thing about the notes.
I mean you just kind of implied that kids learn lots of notes but they actually can't play one properly.
So they're on a downer, a longer user from the start.
I mean give us a nice note.
What would you say is a nice_ _ _
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_ _ _ [D] _ _ [Bb] I think if you're going to learn to play_
I mean okay just take a phrase maybe more so than that.
If you take like one little phrase and_
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_ _ _ _ _ Just that and if you sit and work on that for long enough, when you get that right then you can move on to something else.
That's the way I kind of look at it.
If you_
I mean there's so many ways of doing that again. _ _ _ _ _
_ _ _ _ _ I think people will get the tab for that and they'll say that's that lick, there's the note, I've got that one.
And they move on.
Well I've just played it off three different ways.
It's the nuance, it's the kind of_
Even two notes. _ _ _ _ _ _ _
It's just that whole kind [Gb] of_
It's just how you interpret it.
And that's really what makes the difference.
I mean if you play a ring really straight it'll sound so cold and so boring.
That's actually putting what you feel into it and bending a note the way you feel it should be bent.
Otherwise it doesn't have any character, it doesn't really say anything.
So [Ab] I would say just take a simple phrase and learn it and just go over it and play it really slowly.
But really listen to what you're playing.
Don't just say right, yeah that's the notes and I've got it now.
You've actually got to really get into it and say well how am I going to play it?
How's this going to sound like me?
How am I going to put this across?
What's going to give it that kind of_
How's it going to sound like it's saying something?
Otherwise it is just notes and anyone can play notes.
You did the Monsters of Rock thing last year of course which I saw you on.
That must have influenced your general vibe I suppose.
Yeah I've definitely carried that on to this.
I enjoyed playing in that style again.
I hadn't played a rock concert as it were for a long time.
I kind of [G] enjoyed the whole intensity of that and the big sound, the big rock guitar sound.
So I kind of stuck to that one.
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_ _ _ _ Oh _ yeah right.
[Em] That's great colour.
It's real wine red.
It's like an SG almost isn't it? _ _
_ _ [A] Wow. _ _ _ _
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_ _ _ _ [Db] _ [C] _ Right we've changed guitars to this Wine Red Explorer.
_ [Abm] Yeah.
So it's a weird_
Watch my check on it now because I'm a level guy.
The blues has got a tradition of people playing weird guitars.
Albert King with the Flying V.
Yeah the Flying V.
Johnny Winter with the Flying V and Firebird. Yeah.
He's playing V2 now.
Yeah [Em] he did.
The first one I ever saw with the old type, the 58 type.
Yeah but it's also quite a versatile guitar too.
I mean you'd be surprised.
You can get some [Am] very nice _ _ _ [D] _ _ [Eb] _ _
_ warm sounds.
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_ _ _ _ [A] [G] You get all that sort of thing.
Or just with the two, the good blues sort of thing. _ _ _ _
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_ _ _ _ [F] _ [Gm] _ It's got that nice middle thing as well.
You don't associate with that guitar.
When you look at that you don't think versatility.
You think oh it's going to be a one trick pony.
You get it on and then you've got the treble [E] pickup with the_
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_ _ _ _ _ No it's good.
That's cool.
It's very nice to play as well.
Is it?
Yeah.
It's a very easy guitar to play I think.
It's got quite a big neck.
It's a flat wide neck and it's great for bending on.
And the intonation is really good on these guitars as well which is nice.
We've spoken before about the way you play differently on a Strat to a Les Paul or whatever.
You've picked that up and immediately you've gone faster.
It's a faster guitar than a Les Paul.
It's more fluid sort of neck.
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_ _ [G] It's got a more elastic sort of thing.
It's very good to play on.
It's lovely that big bend on the bottom string there.
Gary, thanks an awful lot for doing that.
Really fantastic.
Good to see you again.