Gary Moore is acknowledged as one of the finest musicians that the British Isles has ever produced. In a career that dates back to the 1960s, there are few musical genres that he has not turned his adroit musical

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hand to, and has graced the line-ups ever several notable rock bands, Thin Lizzy, Colosseum II and Skid Row to name but three.

Gary Moore was born in Belfast, Northern Ireland, on April 4th 1952. Like many others, he was turned on to rock and roll first through hearing Elvis Presley, and then via The Beatles. Seeing the likes of Jimi Hendrix and John Mayall's Bluesbreakers in his hometown in the mid-60s opened up to him the rich world of The Blues. Hearing the art of the Blues guitar performed by such lauded exponents as Peter Green fired Moore's nascent talent, and it wasn't long before he was being hailed as a teen musical prodigy. Indeed, it was Green himself who helped foster Moore's career, a debt that was repaid handsomely when Gary cut his warm and heartfelt tribute to his mentor, the 'Blues For Greeny' album, released in 1995.

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Gary Moore - Scars
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Having spent most of the 1990s indulging in blues-fests with the likes of Albert and BB King, Gary Moore needed revitalising with some new blood. Hence Scars, a new album from a new band of the same name. Recruiting former Skunk Anansie bassist Cass Lewis and former Primal Scream drummer Darrin Mooney, he's provided himself with a vibrant rhythm section, talented enough to back his most subtle and explosive flights of fretboard fancy.

This is not to say he's left the blues behind. "Ball and Chain" and the opening "When the Sun Goes Down" are both deep grinds in the tradition of Howlin' Wolf. But he ups the tempo with "Rectify" and "World Keeps Turnin' Round", delivering Mountain-style blues-metal. Elsewhere, he moves further afield, with the drum & bass intro of "Wasn't Born in Chicago" and the techno SFX of "Stand Up". There's also something for those who prefer Moore's gentler moments. "Just Can't Let You Go" is a sweet ballad--Moore's voice soft and quivering with emotion--that rises to two separate crescendos then ends with a trademark solo echoing the classic "Parisienne Walkways". This is a fine return to form