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Gary Moore - Still Got The Blues - Intro & Main Solo - Guitar Lesson

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Gary Moore - Still Got The Blues - Intro & Main Solo guitar lesson video
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Classic Rock

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Gary Moore Blues Rock Bm minor
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About Still Got The Blues - Intro & Main Solo

Few guitar moments from 1990 reward close study quite like the intro and main solo of "Still Got The Blues." Gary Moore builds the intro from a fingerpicked, almost classical-feeling chord passage in B minor that sets a mood of quiet restraint before the song opens up fully. When the solo arrives, that restraint is gone: long, singing bends, vibrato held with real conviction, and phrases that breathe rather than race are the tools at work. At 80 BPM the tempo is not punishing, but that slower pace is exactly what makes every note accountable. There is nowhere to hide a weak bend or a vibrato that wavers too soon. The challenge is not speed but control, tone, and the pacing of emotion across a long melodic statement. Use the Practice Toolbar to loop the bend-heavy phrases slowed down until your intonation and vibrato feel completely settled before bringing it back up to tempo. This is Blues Rock playing where feel counts for everything.

  • The intro uses a fingerpicked chord passage in B minor, so clean fretting-hand clarity and even pick-or-finger balance across strings are priorities from bar one.
  • Slow, wide string bends with sustained vibrato are the core technique of the main solo, demanding strong fretting-hand finger strength and precise pitch control.
  • At 80 BPM the tempo is moderate, but the long note values make wavering vibrato or flat bends immediately obvious, so practise each phrase in isolation first.

How to Play Still Got The Blues - Intro & Main Solo

Tuning: E Standard · Key: Bm minor · Tempo: 80 BPM

Loop each section and focus on clean, even timing rather than speed, with the metronome at 80 BPM.

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.

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