Creator Area
Sign in Creator Area

Practice Studio

Gary Moore - Still Got the Blues - Guitar Cover

Sections · Loop · Speed · Metronome

Not in tune?

Select a Loop

Start of your loop
End of your loop

Speed Control

Speed
100%

Tools

BPM
Key Am minor
Gary Moore - Still Got the Blues guitar cover video
Kfir Ochaion
Kfir Ochaion Top Contributor
YouTube: 2.4Msubs 1.3Mviews
Creator Page →
PLAY WITH BACKING TRACK
·
–50¢ 0 +50¢
· Tap to start

Your browser will ask for microphone permission.

Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
AI tone preset

AI-selected preset based on genre and era — adjust the knobs to taste.

Roll back the gain slightly and pick near the neck for a warmer, more open crunch.
Still Got The Blues album cover
Still Got The Blues
1990 6:11
Listen on Spotify
Gary Moore Blues Rock 1990 Am minor
Capo Advisor 0 Am minor · Original key

About Still Got the Blues

Few guitar solos in Blues Rock carry the emotional weight of "Still Got the Blues," and for good reason: Gary Moore pours an enormous amount of phrasing subtlety into every bar. Playing it convincingly in A minor at 92 BPM asks you to slow down and really listen to where Moore places his notes, because so much of the feeling lives in the space between them. The main melody is deceptively approachable on the neck, but the vibrato and string bends are what separate a note-perfect run from something that actually sounds like the record. Moore's bends are wide and controlled, often held just a fraction longer than you expect, so take the solo section into the Practice Toolbar and loop it slowed down to isolate that timing. The rhythm part rewards a clean, restrained pick attack in E Standard tuning, letting chord voicings breathe rather than pushing hard into the strings. Get the feel of the slower passages right before worrying about the climactic upper-register runs.

  • The solo relies heavily on slow, wide string bends and sustained vibrato in A minor, demanding precise left-hand control rather than speed.
  • The song is in E Standard tuning at 92 BPM, a relaxed tempo that exposes any weakness in phrasing or note sustain.
  • The rhythm guitar part uses restrained chord voicings with a clean tone, so dynamics and pick attack matter more than distortion here.

How to Play Still Got the Blues

Tuning: E Standard · Key: Am minor · Tempo: 92 BPM · Difficulty: Medium

The central challenge here is not technical speed but emotional control: Moore plays in A minor at 90 bpm, and the slow tempo actually makes every bend, vibrato, and sustain fully exposed, leaving no place to hide sloppy technique. The two solo sections are the payoff for most learners, and Solo 1 is worth isolating with the section loop because it builds gradually through a series of sustained string bends that require precise pitch accuracy and a slow, wide vibrato rather than a fast nervous one. A very common pitfall is rushing the phrasing to fill the space; Moore deliberately leaves gaps between phrases, so resist the urge to play more notes. Practice each solo at reduced speed first to internalize where the rests fall.

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 92 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

Gary Moore wielded Fender Stratocasters for his cleaner blues tones, using their glassy single-coil bite to contrast with his Les Paul's fat sustain. The thin, articulate voice let him deliver expressive rhythm work and cutting lead lines without the compressed warmth of humbuckers.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Moore's iconic 'Greeny' Gibson Les Paul Standard with its reversed neck pickup magnet became his signature, delivering dynamic PAF humbucker tone that bloomed into singing sustain when pushed through cranked Marshalls. This guitar defined his ability to achieve violin-like feedback and endless note decay.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

The Gibson Les Paul Custom gave Moore additional options beyond 'Greeny', with standard PAF-style humbuckers in the 7.5–8.5k ohm range providing enough output to drive his Marshalls into natural power-tube saturation without ceramic pickup compression. This guitar delivered the fat, singing tone central to his hard rock era.

Marshall JCM800
Amp

Marshall JCM800

The Marshall JCM800 became Moore's modern workhorse, cranked loud enough to achieve that singing, violin-like sustain where controlled feedback allowed notes to bloom endlessly. The amp's natural power-tube saturation created rich harmonic overtones essential to his fluid, sustaining lead style.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Gary Moore's early Marshall 1959 Super Lead Plexis were run at volume to generate natural harmonic saturation and responsive, singing sustain that defined his blues-rock foundation. The amp's sensitivity to picking dynamics let his fingers shape tone as much as the guitar itself.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Moore deployed the Dunlop Cry Baby Wah for expressive, soulful lead passages that added vocal-like character to his soaring solos. Though a key tool in his arsenal, it served as seasoning to his core tone rather than the foundation of his sound.

Recommended for You

Play with Backing Track

Play with Backing Track

Solo (Backing Track)

Solo (Backing Track)