Album by Gary Moore
By 1990, Gary Moore had already lived several musical lives.
He’d played hard rock with Thin Lizzy, flirted with heavy metal, and built a reputation as one of the most gifted guitarists of his generation.
Still Got the Blues wasn’t a reinvention so much as a homecoming, fully embracing the music that had inspired him from the beginning.
What I enjoyed most about this album is how many different shades of the blues it explores. Rather than settling into one style, Moore moves comfortably between Chicago blues, Texas blues, jump blues, electric blues, and slow-burning blues ballads, creating an album that feels like both a celebration and a love letter to the genre.
“Moving On” wastes no time kicking the doors open with a loud, upbeat barroom blues rocker packed with flashy guitar work and infectious energy.
Albert King joins Moore on “Oh Pretty Woman,” bringing the unmistakable authority of one of electric blues’ defining figures. I think King’s style contrasts beautifully with Moore’s more explosive approach, creating a conversation between two generations of guitar players.
“Walking By Myself” shifts into a playful Chicago blues shuffle that’s impossible not to tap your foot to.
“Still Got the Blues (For You)” is built around aching vocals, restrained guitar work, and a melody filled with regret. It’s one of the album’s strongest performances.
“Texas Strut” immediately changes the mood, delivering exactly what the title promises: swagger, groove, and another excuse for Moore to let loose on guitar.
Albert Collins appears on “Too Tired,” bringing his trademark tone and rhythmic attack. Nicknamed as “The Master of the Telecaster,” Collins’ punchy style adds another distinct flavor to an album already rich with different blues traditions.
“As the Years Go Passing By” may be my favorite performance here. Stretching past seven minutes, it unfolds slowly and patiently, recalling the emotional weight of B.B. King’s “The Thrill Is Gone.” Moore never rushes a note, allowing the organ, guitar, and vocals to breathe together until the song becomes almost hypnotic.
“Midnight Blues” continues that slow-burning atmosphere, while “That Kind of Woman” offers something different entirely. Written by George Harrison, who also contributes guitar, slide guitar, and backing vocals, the song carries Harrison’s unmistakable melodic fingerprints. It feels lighter, more reflective, and provides a welcome stylistic detour before the album heads home.
The closing pair of “All Your Love” and “Stop Messin’ Round” send the album out exactly as you’d hope—with upbeat, danceable blues that feel like a crowded bar singing along long after midnight.
Still Got the Blues isn’t interested in reinventing the blues. It’s about celebrating everything that makes the genre endure.
With an outstanding group of guest musicians, a wide range of blues styles, and Gary Moore’s exceptional guitar work tying it all together, it’s one of the most enjoyable blues albums I heard from 1990.
Verdict: Great
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