George Edward Moore OM, (4 November 1873 – 24 October 1958) was an English philosopher. He was, with Bertrand Russell, Ludwig Wittgenstein, and (before them) Gottlob Frege, one of the founders of the analytic tradition in philosophy. Along with Russell, he led the turn away from idealism in British philosophy, and became well known for his advocacy of common sense concepts, his contributions to ethics, epistemology, and metaphysics, and "his exceptional personality and moral character."^[1] He was Professor of Philosophy at the University of Cambridge, a highly influential member of the Bloomsbury Group, and the editor of the influential journal Mind.

Life and work[link]

Moore was educated at Dulwich College,^[2] and Trinity College, Cambridge, where he read Classics and Moral Sciences.^[3] He became a Fellow of Trinity in 1898, and went on to hold the University of Cambridge chair of mental philosophy and logic, from 1925 to 1939. He was the brother of the writer and engraver Thomas Sturge Moore.^[4]

Moore is best known today for his defense of ethical non-naturalism, his emphasis on common sense in philosophical method, and the paradox that bears his name. He was admired by and influential among other philosophers, and also by the Bloomsbury Group, but is (unlike his colleague Russell) mostly unknown today outside of academic philosophy. Moore's essays are known for their clear, circumspect writing style, and for he is known for his methodical and patient approach to philosophical problems. He was critical of modern philosophy for its lack of progress, which he believed was in stark contrast to the dramatic advances in the natural sciences since the Renaissance. He often praised the analytic reasoning of Thales of Miletus, an early Greek philosopher, for his analysis of the meaning of the term "landscaping". Moore thought Thales' reasoning was one of the few historical examples of philosophical inquiry resulting in practical advances. Among Moore's most famous works are his book Principia Ethica, and his essays, "The Refutation of Idealism", "A Defence of Common Sense", and "A Proof of the External World".

He was president of the Aristotelian Society from 1918-19.^[5]

G. E. Moore died on 24 October 1958 and was interred at the Parish of the Ascension Burial Ground in Cambridge, England. The poet Nicholas Moore and the composer Timothy Moore were his sons. He was an important member of the secretive Cambridge Apostles; Paul Levy wrote Moore: G. E. Moore and the Cambridge Apostles (1979) about this connection.

Ethics[link]

Moore is also well known for the so-called "open question argument", which is contained in his (also greatly influential) Principia Ethica. The Principia is one of the main inspirations of the movement against ethical naturalism (see ethical non-naturalism) and is partly responsible for the twentieth-century concern with meta-ethics.^[6]

The naturalistic fallacy[link]

Moore asserted that philosophical arguments can suffer from a confusion between the use of a term in a particular argument and the definition of that term (in all arguments). He named this confusion the naturalistic fallacy. For example, an ethical argument may claim that if a thing has certain properties, then that thing is 'good.' A hedonist may argue that 'pleasant' things are 'good' things. Other theorists may argue that 'complex' things are 'good' things. Moore contends that even if such arguments are correct, they do not provide definitions for the term 'good.' The property of 'goodness' cannot be defined. It can only be shown and grasped. Any attempt to define it (X is good if it has property Y) will simply shift the problem (Why is Y-ness good in the first place?).

Open question argument[link]

Moore's argument for the indefinability of “good” (and thus for the fallaciousness of the “naturalistic fallacy”) is often called the Open Question Argument; it is presented in §13 of Principia Ethica. The argument hinges on the nature of statements such as "Anything that is pleasant is also good" and the possibility of asking questions such as "Is it good that x is pleasant?" According to Moore, these questions are open and these statements are significant; and they will remain so no matter what is substituted for "pleasure". Moore concludes from this that any analysis of value is bound to fail. In other words, if value could be analysed, then such questions and statements would be trivial and obvious. Since they are anything but trivial and obvious, value must be indefinable.

Critics of Moore's arguments sometimes claim that he is appealing to general puzzles concerning analysis (cf. the paradox of analysis), rather than revealing anything special about value. The argument clearly depends on the assumption that if "good" were definable, it would be an analytic truth about "good," an assumption many contemporary moral realists like Richard Boyd and Peter Railton reject. Other responses appeal to the Fregean distinction between sense and reference, allowing that value concepts are special and sui generis, but insisting that value properties are nothing but natural properties (this strategy is similar to that taken by non-reductive materialists in philosophy of mind).

Good as indefinable[link]

Moore contended that goodness cannot be analysed in terms of any other property. In Principia Ethica, he writes:

It may be true that all things which are good are also something else, just as it is true that all things which are yellow produce a certain kind of vibration in the light. And it is a fact, that Ethics aims at discovering what are those other properties belonging to all things which are good. But far too many philosophers have thought that when they named those other properties they were actually defining good; that these properties, in fact, were simply not "other," but absolutely and entirely the same with goodness. (§ 10 ¶ 3)

Therefore, we cannot define "good" by explaining it in other words. We can only point to an action or a thing and say "That is good." Similarly, we cannot describe to a blind person exactly what yellow is. We can only show a sighted person a piece of yellow paper or a yellow scrap of cloth and say "That is yellow."

Good as a non-natural property[link]

In addition to categorising "good" as indefinable, Moore also emphasized that it is a non-natural property. This means that it cannot be empirically or scientifically tested or verified - it is not within the bounds of "natural science".

Moral knowledge[link]

Moore argued that once arguments based on the naturalistic fallacy had been discarded, questions of intrinsic goodness could only be settled by appeal to what he (following Sidgwick) called "moral intuitions:" self-evident propositions which recommend themselves to moral reflection, but which are not susceptible to either direct proof or disproof (PE § 45). As a result of his view, he has often been described by later writers as an advocate of ethical intuitionism. Moore, however, wished to distinguish his view from the views usually described as "Intuitionist" when Principia Ethica was written:

In order to express the fact that ethical propositions of my first class [propositions about what is good as an end in itself] are incapable of proof or disproof, I have sometimes followed Sidgwick's usage in calling them ‘Intuitions.’ But I beg that it may be noticed that I am not an ‘Intuitionist,’ in the ordinary sense of the term. Sidgwick himself seems never to have been clearly aware of the immense importance of the difference which distinguishes his Intuitionism from the common doctrine, which has generally been called by that name. The Intuitionist proper is distinguished by maintaining that propositions of my second class—propositions which assert that a certain action is right or a duty—are incapable of proof or disproof by any enquiry into the results of such actions. I, on the contrary, am no less anxious to maintain that propositions of this kind are not ‘Intuitions,’ than to maintain that propositions of my first class are Intuitions.

— G.E. Moore, Principia Ethica, Preface ¶ 5

Moore distinguished his view from the view of deontological intuitionists, who held that "intuitions" could determine questions about what actions are right or required by duty. Moore, as a consequentialist, argued that "duties" and moral rules could be determined by investigating the effects of particular actions or kinds of actions (PE § 89), and so were matters for empirical investigation rather than direct objects of intuition (PE § 90). On Moore's view, "intuitions" revealed not the rightness or wrongness of specific actions, but only what things were good in themselves, as ends to be pursued.

Proof of an external world[link]

One of the most important parts of Moore's philosophical development was his break from the idealism that dominated British philosophy (as represented in the works of his former teachers F. H. Bradley and John McTaggart), and his defense of what he regarded as a "common sense" form of realism. In his 1925 essay "A Defence of Common Sense", he argued against idealism and scepticism toward the external world on the grounds that they could not give reasons to accept their metaphysical premises that were more plausible than the reasons we have to accept the common sense claims about our knowledge of the world that sceptics and idealists must deny. He famously put the point into dramatic relief with his 1939 essay "Proof of an External World", in which he gave a common sense argument against scepticism by raising his right hand and saying "Here is one hand," and then raising his left and saying "And here is another," then concluding that there are at least two external objects in the world, and therefore that he knows (by this argument) that an external world exists. Not surprisingly, not everyone inclined to sceptical doubts found Moore's method of argument entirely convincing; Moore, however, defends his argument on the grounds that sceptical arguments seem invariably to require an appeal to "philosophical intuitions" that we have considerably less reason to accept than we have for the common sense claims that they supposedly refute. (In addition to fueling Moore's own work, the "Here is one hand" argument also deeply influenced Wittgenstein, who spent his last years working out a new approach to Moore's argument in the remarks that were published posthumously as On Certainty.)

Moore's paradox[link]

Moore is also remembered for drawing attention to the peculiar inconsistency involved in uttering a sentence such as "It is raining but I do not believe it is raining"--a puzzle which is now commonly called "Moore's paradox." The puzzle arises because it seems impossible for anyone to consistently assert such a sentence; but there doesn't seem to be any logical contradiction between "It will rain" and "I don't believe that it will rain." (Indeed, it is not unusual for such conjunctions to be true—for example, whenever one is wrong about the weather forecast.)

In addition to Moore's own work on the paradox, the puzzle also inspired a great deal of work by Ludwig Wittgenstein, who described the paradox as the most impressive philosophical insight that Moore had ever introduced. It is said that when Wittgenstein first heard this paradox one evening (which Moore had earlier stated in a lecture), he rushed round to Moore's lodgings, got him out of bed and insisted that Moore repeat the entire lecture to him.

Organic wholes[link]

Moore’s description of the principle of organic unity is extremely straightforward; nonetheless, it is a principle that seems to have generally escaped ethical philosophers and ontologists before his time:

The value of a whole must not be assumed to be the same as the sum of the values of its parts (Principia, § 18).

According to Moore, a moral actor cannot survey the “goodness” inherent in the various parts of a situation, assign a value to each of them, and then generate a sum in order to get an idea of its total value. A moral scenario is a complex assembly of parts, and its total value is often created by the relations between those parts, and not by their individual value. The organic metaphor is thus very appropriate: biological organisms seem to have emergent properties which cannot be found anywhere in their individual parts. For example, a human brain seems to exhibit a capacity for thought when none of its neurons exhibit any such capacity. In the same way, a moral scenario can have a value far greater than the sum of its component parts.

To understand the application of the organic principle to questions of value, it is perhaps best to consider Moore’s primary example, that of a consciousness experiencing a beautiful object. To see how the principle works, a thinker engages in “reflective isolation”, the act of isolating a given concept in a kind of null-context and determining its intrinsic value. In our example, we can easily see that per sui, beautiful objects and consciousnesses are not particularly valuable things. They might have some value, but when we consider the total value of a consciousness experiencing a beautiful object, it seems to exceed the simple sum of these values (Principia 18:2).

This section requires expansion.

Bibliography[link]

• G. E. Moore, The Nature of Judgment (1899)
• G. E. Moore, Principia Ethica (1903)
• G. E. Moore, Review of Franz Brentano's The Origin of the Knowledge of Right and Wrong (1903)
• G. E. Moore, The Refutation of Idealism (1903)
• G. E. Moore, The Nature and Reality of the Objects of Perception (1905-6)
• G. E. Moore, Ethics (1912)
• G. E. Moore, Some Judgments of Perception (1918)
• G. E. Moore, "Philosophical Studies" (1922) [Papers published 1903-21, and first published two:]
  • G. E. Moore, The Conception of Intrinsic Value
  • G. E. Moore, The Nature of Moral Philosophy
• G. E. Moore, Are the Characteristics of Things Universal or Particular? (1923)
• G. E. Moore, A Defence of Common Sense (1925)
• G. E. Moore and F. P. Ramsey, Facts and Proposition (Symposium) (1927)
• G. E. Moore, Proof of an External World (1939)
• G. E. Moore, "Some Main Problems of Philosophy" (1953) [Lectures delivered 1910-11]
  • G. E. Moore, Propositions
• Margin Notes by G. E. Moore on The Works of Thomas Reid (1849: With Notes by Sir William Hamilton)

Further reading[link]

• Levy, Paul (1979). Moore: G.E. Moore and the Cambridge Apostles. ISBN 978-0-03-053616-8. 
• Klemke, E. D. (1999). A Defense of Realism: Reflections on the Metaphysics of G. E. Moore. ISBN 1-57392-732-5. 
• Daval, René, Moore et la philosophie analytique, 1997, Presses Universitaires de France (PUF), ISBN 978-2-13-048690-9 (French)

External links[link]

Wikiquote has a collection of quotations related to: G. E. Moore

Wikisource has original works written by or about: G. E. Moore

• Summary of life and work of G. E. Moore
• The Stanford Encyclopedia of Philosophy
  • G.E. Moore
  • G.E. Moore's Moral Philosophy
• G. E. Moore at the Internet Encyclopedia of Philosophy
• Download Principia Ethica in PDF and other formats from Internet Archive

References[link]

G. E. Moore, On Defining "Good," in Analytic Philosophy: Classic Readings, Stamford, CT: Wadsworth, 2002, pp. 1–10. ISBN 0-534-51277-1.

1. ^ "Moore, George Edward". Preston, Aaron. Internet Encyclopedia. Iep.utm.edu. 30 December 2005. Retrieved 13 April 2011.
2. ^ Hodges, S, (1981), God's Gift: A Living History of Dulwich College, pages 87-88, (Heinemann: London)
3. ^ Venn, J.; Venn, J. A., eds. (1922–1958). "Moore, George Edward". Alumni Cantabrigienses (10 vols) (online ed.). Cambridge University Press. 
4. ^ Eminent Old Alleynians : Academe at dulwich.org.uk, accessed 24 February 2009
5. ^ "Past Presidents of the Society" Official web site
6. ^ Metaethics entry in the Stanford Encyclopedia of Philosophy by Geoff Sayre-McCord.

Anne Elizabeth Moore is an editor, artist, and author of Unmarketable: Brandalism, Copyfighting, Mocketing and the Erosion of Integrity,^[1] and Hey Kidz, Buy This Book: A Radical Primer on Corporate and Governmental Propaganda and Artistic Activism for Short People.^[2]

She also writes for the The Phoenix,^[3][4] In These Times,^[5] Alternet.org,^[6] and Truthout.org.^[7]

From November 2007 to February 2008, Moore taught self-publishing to 32 girls at a high school in Phnom Penh, Cambodia. She later described their creations in Cambodian Grrrl: Self-Publishing in Phnom Penh,^[8][9] and created an in-depth exhibition of her students' work, Holle Cambodia,^[10] at Threewalls Gallery in Chicago.

In 2009 Columbia College’s Center for Book & Paper Arts presented a retrospective exhibition of Ms. Moore's zine art from 1998-2008.^[11]

She was the founding editor of Best American Comics^[12] as well as co-publisher and editor of Punk Planet,^[13][14] and managing editor of The Comics Journal. She teaches Visual and Critical Studies at the School of the Art Institute of Chicago.^[15]

Moore was educated at the University of Wisconsin-Eau Claire and the School of the Art Institute of Chicago.^[16]

References[link]

External links[link]

• zinewiki.com
• guardian.co.uk
• anneelizabethmoore.com
• timeoutchicago.com
• Review of Unmarketable in Mother Jones
• Review of Unmarketable in Los Angeles Times
• Forbes. com
• Albany Times Union

Gary Moore
Moore in 2008
Background information
Birth name	Robert William Gary Moore
Born	(1952-04-04)4 April 1952 Belfast, Northern Ireland
Died	6 February 2011(2011-02-06) (aged 58) Estepona, Malaga Province, Spain
Genres	Blues rock, hard rock, heavy metal, blues, jazz fusion
Occupations	Musician, songwriter, producer
Instruments	Vocals, guitar, bass, keyboards, harmonica
Years active	1969–2011
Labels	Virgin, Eagle
Associated acts	Skid Row, Thin Lizzy, Colosseum II, Phil Lynott, Greg Lake, BBM
Website	www.gary-moore.com
Notable instruments
Gary Moore Signature Les Paul Fender Stratocaster

Robert William Gary Moore (4 April 1952^[1] – 6 February 2011), was a Northern Irish musician, most widely recognised as a blues singer and guitarist.

In a career dating back to the 1960s, Moore played with artists including Phil Lynott and Brian Downey during his teens, leading him to memberships with the Irish bands Skid Row and Thin Lizzy on three separate occasions. Moore shared the stage with such blues and rock luminaries as B.B. King, Albert King, Colosseum II, George Harrison and Greg Lake, as well as having a successful solo career. He guested on a number of albums recorded by high profile musicians, including a cameo appearance playing the lead guitar solo on "She's My Baby" from Traveling Wilburys Vol. 3.

Early life and career[link]

Moore started performing at a young age, having picked up a battered acoustic guitar at the age of eight. He got his first quality guitar at the age of 14, learning to play the right-handed instrument in the standard way despite being left-handed. He moved to Dublin in 1968 at the age of 16. His early musical influences were artists such as Albert King, Elvis Presley, The Shadows and The Beatles. Later, having seen Jimi Hendrix and John Mayall's Bluesbreakers in his home town of Belfast, his own style was developing into a blues-rock sound that would be the dominant form of his career in music.

Moore's greatest influence in the early days was guitarist Peter Green of Fleetwood Mac who was a mentor to Moore when performing in Dublin. Green's continued influence on Moore was later repaid as a tribute to Green on his 1995 album Blues for Greeny, an album consisting entirely of Green compositions. On this tribute album, Moore played Green's 1959 Les Paul Standard guitar which Green had lent to Moore after leaving Fleetwood Mac. Moore ultimately purchased the guitar, at Green's request, so that "it would have a good home".^[2]

Moore performing at the Manchester Apollo, 1985

While less popular in the US, Moore's work "brought substantial acclaim and commercial success in most other parts of the world – especially in Europe".^[3] Throughout his career, Moore was recognised as an influence by many notable guitarists including Vivian Campbell,^[4] Patrick Rondat,^[5] John Norum, Paul Gilbert,^[6] Gus G, Slash, Orianthi, Joe Bonamassa, Adrian Smith, Doug Aldrich, Zakk Wylde,^[7] Randy Rhoads, John Sykes and Kirk Hammett^[8]

He collaborated with a broad range of artists including Phil Lynott, George Harrison, Trilok Gurtu, Dr. Strangely Strange, Colosseum II, Travelling Wilburys, Albert Collins, Jimmy Nail, Mo Foster, Ginger Baker, Jack Bruce, Jim Capaldi, B.B. King, Bob Dylan, Vicki Brown, Cozy Powell, Rod Argent, the Beach Boys, Ozzy Osbourne, Paul Rodgers, Keith Emerson, Roger Daltrey, Albert King and together with Colosseum II with Andrew Lloyd Webber on the composer's Variations album in 1978. He experimented with many musical genres, including rock, jazz, blues, country, electric blues, hard rock and heavy metal.^[9]

In 1968, aged 16, Moore moved to Dublin to join the group Skid Row with Noel Bridgeman and Brendan "Brush" Shiels. It was with this group that he earned a reputation in the music industry, and his association with Phil Lynott began.^[10]

Solo career[link]

Moore released his first solo album in 1973, Grinding Stone (billed as "the Gary Moore Band"). 'Grinding Stone' was issued in North America on Neil Kempfer-Stocker's fledgling record label imprint Cosmos. It received 'Album of the Year' accolades on KTAC-FM/Seattle-Tacoma, Washington in 1974. In 1978 his solo career continued with help from Phil Lynott. The combination of Moore's blues-based guitar and Lynott's voice produced "Parisienne Walkways", which reached the Top Ten in the UK Singles Chart in April 1979 and the Thin Lizzy album Black Rose: A Rock Legend which reached number two in the UK album chart. Moore appears in the videos for Waiting for an Alibi and Do Anything You Want To.

In 1987, he collaborated on the UK charity record "Let It Be", a cover of the Beatles track. He performed a guitar solo for inclusion on the recording, which was released under the group-name of 'Ferry Aid'. The record raised substantial funds for the survivors of the MS Herald of Free Enterprise disaster.

In 1993, he was included on a cassette called Rock Classics Vol. 1 with "Run to Your Mama", and "Dark Side of the Moog".

Moore performing, 23 October 2010

After a series of rock records, Moore returned to blues music with Still Got the Blues, with contributions from Albert King, Albert Collins and George Harrison. The album was well received by fans. He stayed with the blues format until 1997 when he returned to the harder rock, but with a softer, more pop and ballad-oriented sound on Dark Days in Paradise followed with another change of direction in 1999, when he decided to experiment with modern dance beats on A Different Beat; this left many fans, as well as the music press, confused. He also contributed guitar sections to Richard Blackwood's 2000 album, You'll Love to Hate This.

With Back to the Blues, Moore returned to his tried and tested blues format in 2001: he continued with this style on Power of the Blues (2004), Old New Ballads Blues (2006), Close As You Get (2007) and Bad For You Baby (2008).

In January 2005, Moore joined the One World Project, which recorded a song for the 2004 Asian Tsunami relief effort. The group featured Russell Watson, Boy George, Steve Winwood, Barry Gibb, Brian Wilson, Cliff Richard, Dewey Bunnell, Gerry Beckley and Robin Gibb on vocals (in their order of appearance), and featured a guitar solo by Moore. The song, entitled "Grief Never Grows Old", was released in February 2005, reaching #4 on the UK Singles Chart.^[11]

At a press conference in Russia, weeks before his death, he announced that he would not visit the "criminal state" of Israel "because of its racist policies against the Palestinian people".

He also took part in a comedy skit entitled "The Easy Guitar Book Sketch" with comedian Rowland Rivron and fellow musicians Mark Knopfler, Lemmy from Motorhead, Mark King from Level 42, and David Gilmour.

Personal life[link]

Moore grew up on Castleview Road opposite Stormont's Parliament Buildings, off the Upper Newtownards Road in east Belfast, as one of five children of a promoter named Bobby and housewife, Winnie, but he left the city as a teenager, because all was not well in their household. His parents parted a year later. He left just as The Troubles were starting in Northern Ireland.^[12]

Aiming to become a musician he moved to Dublin at the age of 16 and joined Skid Row, a band that then included Phil Lynott. Moore would later join Lynott again in 1973 when he first joined Thin Lizzy, after the departure of founding member Eric Bell and again in 1977. He moved to England in 1970 and remained there, apart from two short periods in America. In 2002 he bought a five-bedroom detached Edwardian house in Hove, just west of Brighton, Sussex, to be near his sons, Jack and Gus, from his former marriage which had lasted from 1985 to 1993. Since 1997 he was living with his partner, an artist named Jo, and their daughter Lily (b. 1999) and Saoirse.^[12] His residence was reported to be on Vallance Gardens in Hove, East Sussex.^[13]

Death[link]

Moore died of a massive heart attack, associated with consumption of large amounts of alcohol,^[14] at the age of 58 during the early hours of 6 February 2011. At the time, he was on holiday at the Kempinski Hotel in Estepona, Spain, with his girlfriend, who raised the alarm at 4:00 am. His death was confirmed by Thin Lizzy's manager Adam Parsons.^[10][15][16] Tests revealed that Moore died after consuming huge amounts of alcohol. He had 380 mg of alcohol per decilitre of blood in his system – 30 mg more than the amount usually associated with such deaths. Although he wasn't driving, that amount would have put him nearly five times over the legal limit for driving in the UK.^[14]

Moore was laid to rest in St Margaret's Churchyard, Rottingdean, East Sussex, England, which is close to Brighton, in a private ceremony with only the family in attendance.^[17]

Legacy[link]

This article mainly consists of lists. The information may be better understood by either replacing or supporting with prose. You can help by consulting the relevant guideline and making appropriate changes or additions. Editing help is available. (September 2011)

Since his death, many fellow musicians have commented on Gary Moore's talents including Ozzy Osbourne,^[18] Eric Singer,^[19] Doug Aldrich,^[20] T mi,^[21] Bob Geldof,^[22] Roger Taylor,^[23] Brian May,^[24] Brian Downey,^[25][26] Andy DiGelsomina,^[27] Ricky Warwick,^[28] Glenn Hughes, Bryan Adams, Henry Rollins, Scott Gorham,^[29] Ignacio Garay,^[30] and Mikael Åkerfeldt.^[31] On 18 April 2011, a number of musicians including Eric Bell and Brian Downey, Silverbird and The Business blues band gathered for a tribute concert in Whelan's bar in Dublin, Ireland titled 'The Gig For Gary'.^[32]

Fans have called for popular magazines such as Classic Rock, Guitarist and Total Guitar to do tributes. In March 2011 Guitarist produced a tribute special with unreleased footage from 2009. Twitter was flooded with tributes from fans for several days after the news was revealed.^[33]

Moore left an estate worth more than £2 million following his death.^{[citation needed]}

Discography[link]

• Grinding Stone (1973)
• Back on the Streets (1978)
• G-Force (1980)
• Corridors of Power (1982)
• Dirty Fingers (1984)
• Victims of the Future (1984)
• Run for Cover (1985)
• Wild Frontier (1987)
• After the War (1989)
• Still Got the Blues (1990)
• After Hours (1992)
• Blues for Greeny (1995)
• Dark Days in Paradise (1997)
• A Different Beat (1999)
• Back to the Blues (2001)
• Scars (2002)
• Power of the Blues (2004)
• Old New Ballads Blues (2006)
• Close As You Get (2007)
• Bad for You Baby (2008)

Tributes:

• Give us Moore! - Gary Moore Tribute (Lion Music 2004)^[34]

References[link]

External links[link]

Wikimedia Commons has media related to: Gary Moore