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“He pretty much crossed the line genre-wise. In his heart, he was all blues, but he could play anything. There’s a studio version [on 1992’s After Hours] of this song that’s great, but his soloing on the live album is the one to hear. His vibrato is staggering, and his overall technique is just full-on.
“What’s really amazing about Gary Moore is that he got that incredible vibrato with heavy-gauge strings. I was fortunate enough to sit in a room with him a few times when he toured with Def Leppard. He had Peter Green’s old Les Paul with him, and he let me play it. I was using .009s at the time, but Gary was using .010s. I had these giant bubble blisters on my fingers after playing the .010s, but I’ve stuck with them.
“The best thing I can say about Gary Moore is what I would say about any great guitarist: you couldn’t copy him. I watched him play from, like, two feet away, trying to figure out how he got his sound, and I was clueless. He was his own man. Listen to Cold Day In Hell and you’ll know why.”