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Gary Moore - Still Got The Blues - Verse, Chorus & Bridge - Guitar Lesson

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Key Am minor
Gary Moore - Still Got The Blues - Verse, Chorus & Bridge guitar lesson video
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Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.
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Gary Moore Blues Rock Am minor
Capo Advisor 0 Am minor · Original key

About Still Got The Blues - Verse, Chorus & Bridge

Few songs put expressive lead-guitar playing front and centre quite the way "Still Got The Blues" does, and even the verse, chorus, and bridge sections demand serious attention to touch and phrasing. Gary Moore plays in E Standard at a measured 94 BPM in A minor, which gives you room to focus on feel rather than speed, but that relaxed tempo is deceptive: every note needs to sing, and sloppy vibrato or rushed bends will stand out immediately. The chord work underneath the melody asks for clean fingering and smooth transitions, while the bridge pushes you toward controlled, vocal-style bends that stay in tune across their full arc. That bend accuracy is where most players struggle, so set up an A/B loop on the Practice Toolbar, slow it down, and isolate just a bar or two until each bend lands exactly where it should. This is Blues Rock playing at its most melodic and unforgiving, where restraint and precision matter more than any flashy technique.

  • Played in E Standard tuning at 94 BPM, the moderate tempo gives space for expressive vibrato and bends but leaves nowhere to hide imprecision.
  • The verse and chorus rely on clean chord voicings in A minor, so accurate fretting and smooth position shifts are the core technical challenge.
  • Slow the bridge bends down using the Practice Toolbar to check pitch accuracy before bringing them back up to full tempo.

How to Play Still Got The Blues - Verse, Chorus & Bridge

Tuning: E Standard · Key: Am minor · Tempo: 94 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 94 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.

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