Gary Moore Gear Guide
A quick-reference table guide to Gary Moore's guitars, amplifiers and effects across key musical periods.
Les Paul guitars and Marshall amplification are central to Moore's blues-rock sound. His career also includes Stratocasters, ES-335s and distinct hard-rock rigs.
Quick overview
| Category | Details | Era / use |
|---|---|---|
| 1959 Gibson Les Paul “Greeny” | Formerly owned by Peter Green; Moore used it extensively before selling it. | Signature guitar |
| Marshall 100W Lead and Bass heads | Vintage Marshall heads associated with his preferred loud amp sound. | Main amplifier reference |
| Marshall Guv'nor | Overdrive / distortion pedal connected with “Still Got the Blues” tone. | Recognizable effect |
Guitars
| Gear / reference | Details | Era / use |
|---|---|---|
| 1959 Gibson Les Paul “Greeny” | Formerly owned by Peter Green; Moore used it extensively before selling it. | Thin Lizzy and solo years |
| Gibson Les Paul Standard | A main instrument for later blues-rock recordings and tours. | Still Got the Blues period |
| Gibson Les Paul “The Beast” | Distinctive vintage Les Paul associated with Moore's collection. | Selected studio and live use |
| Gibson ES-335 (1962) | Semi-hollow guitar used for blues and other material. | Selected albums and performances |
| Fender Stratocaster | Used for brighter tones and alternate setups. | Song dependent |
| Gibson Les Paul BFG / signature models | Signature designs reflected Moore's pickup and finish preferences. | Later product / touring options |
| Guitar slide | Slide technique for sustained blues phrasing. | “Parisienne Walkways” and blues material |
Amplifiers
| Gear / reference | Details | Era / use |
|---|---|---|
| Marshall 100W Lead and Bass heads | Vintage Marshall heads associated with his preferred loud amp sound. | Blues-rock tours |
| Marshall JTM45 | Lower-powered vintage-style head used in selected contexts. | Studio and live use |
| Marshall cabinets | Speaker cabinets paired with vintage heads. | Stage rigs |
| Fender amps | Used for clean and alternate sounds in some periods. | Recording dependent |
| Amp volume and sustain | High-volume amp response is part of the long-note lead sound. | Settings vary by venue |
Effects
| Gear / reference | Details | Era / use |
|---|---|---|
| Marshall Guv'nor | Overdrive / distortion pedal connected with “Still Got the Blues” tone. | Late 1980s / 1990 album period |
| Ibanez Tube Screamer TS-10 | Overdrive used in later blues setups. | Selected rigs |
| T-Rex effects | Delay, modulation and other effects appeared in later pedalboards. | Later touring |
| Wah pedal | Filter sweep for expressive lead parts. | Selected songs |
| Delay / echo | Adds space and repeats to sustained solos. | Song and tour dependent |
| Fuzz / overdrive | Additional gain stages alongside amp drive. | Rig evolved across genres |
Era and song guide
| Gear / reference | Details | Era / use |
|---|---|---|
| Thin Lizzy years | Les Paul and Marshall sound in hard-rock arrangements. | “Waiting for an Alibi” period |
| Corridors of Power (1982) | Les Pauls and high-gain Marshall setup. | Hard-rock solo era |
| Wild Frontier (1987) | Rock guitar rig with layered production. | Album period |
| Still Got the Blues (1990) | Les Paul and Marshall-associated lead tone. | “Still Got the Blues,” “Parisienne Walkways” |
| “Parisienne Walkways” | Sustained Les Paul lead and expressive vibrato. | Live performances extend the solo |
| “Oh, Pretty Woman” | Les Paul, overdrive and amp sustain. | Blues-rock arrangement |
| Blues for Greeny (1995) | Greeny Les Paul used in tribute to Peter Green. | Track-specific vintage setup |