Creator Area
Sign in Creator Area

Gary Moore - Still Got The Blues Pt.3 - Outro Solo - Guitar Lesson

Practice Studio

Gary Moore - Still Got The Blues Pt.3 - Outro Solo - Guitar Lesson

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 Pt.3 - Outro Solo guitar lesson video
Guitar 365
Guitar 365 Top Contributor
YouTube: 1.6Msubs 466Kviews
Creator Page →
·
–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.
Listen on Spotify
Gary Moore Blues Am minor
Capo Advisor 0 Am minor · Original key

Still Got The Blues Pt.3 - Outro Solo

"Still Got The Blues Pt.3 - Outro Solo" is a section from Gary Moore's celebrated blues track "Still Got The Blues," widely regarded as one of his finest guitar performances. The outro solo showcases Moore's expressive bending, smooth vibrato, and lyrical phrasing, making it a rewarding study piece for electric guitarists looking to develop their blues vocabulary. Its melodic intensity and technical clarity make it a popular target for players at intermediate to advanced levels.

  • Gary Moore's outro solo on this track is a masterclass in expressive string bending and controlled vibrato technique.
  • The solo is often studied in sections by guitarists seeking to improve phrasing and emotional dynamics in blues playing.
  • Moore favored a Les Paul guitar through a valve amplifier, contributing to the warm, singing tone heard throughout this solo.
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