Rory Gallagher
Rory Gallagher
Eagle Records
www.eaglerockent.com

Rory Gallagher
Deuce
Eagle Records
www.eaglerockent.com

Rory Gallagher
Live In Europe
Eagle Records
www.eaglerockent.com

Rory Gallagher
Blueprint
Eagle Records
www.eaglerockent.com

Rory Gallagher
Notes From San Francisco
Eagle Records
www.eaglerockent.com
By George W. Harris

Who comes to your mind when you think of blues/rock guitarists? Most
likely, Buddy Guy, Eric Clapton and Stevie Ray Vaughan. Back in the
70s, Ireland exported Rory Gallagher, who, for some reason (or actually
for various reasons) never became one of the household names. And you
sure can’t blame the guy for trying. He was an incessant tour monster,
and he built up a legendary following in his native land by playing in
Northern Ireland when NOBODY dared go there during the dark civil war
days. There are streets, avenues, blocks and theatres named after the
guy, who mixed Chicago blues with a Irish folk and Catholic demeanor.
His playing, well, wait until you hear some of these discs; if white
boys playing the blues is your thing, and if guys like John Mayall,
Mick Taylor or Jeff Beck are your ideals, you’re going to get a brand
new friend.

His eponymous first solo disc from 1971 has him with Gerry McAvoy/b,
Wilgar Campbell/dr and Vincent Crane/p as he mixes straight-ahead
Stratocaster rock with some dirt under the nails Delta blues. For the
former, “Laundromat” and “Heads Up” have more licks than a Tootsie Roll
Pop, while Otis Rush’s “It Takes Time” is as earthy on the latter as
you’ll ever want. Not only a first rate picker, but Gallagher’s Irish
tenor is riveting as he tells stories such as Muddy Waters’ “Gypsy
Woman.” Nothing head banging here, just a great and tasty collection of
the roots of American music from an Irishman.

Released just six months after his Debut, the 1971 follow-up Deuce just
might be his best release, and should be on everyone’s ipod or disc
changer (boy, am I dating myself!). He’s pared the sound down to a
trio, with the same guys as before, yet the feel is more sophisticated
yet also a tad more comfortable in his own indigo skin. He again walks
the perfect tightrope in balancing flamboyant chops (“Crest Of A Wave”)
with a sensitivity of a country balladeer (“There’s A Light”). He even
spins a good yarn every now and then, with his twinkle in the eye voice
at its best on “Don’t Know Where I’m Going.” All throughout, the mix of
electric and acoustic satisfies on a plethora of levels. A classic?
Pretty darned close!

Material for the 1972 release of Rory Gallagher Live! was a culled from
his increasingly popular concerts, and became the album that made him a
rear guitar hero. The power trio was on 92 octane here, as Gallagher,
McAvoy and Campbell tear apart tunes like “Messin’ With The Kid” and
“Laundromat” like a Rottweiller with a lamb chop. He was also able turn
a concert hall into an Irish pub with rousing acoustic rhythmic gems
like “Goin’ To My Hometown” while “I Could’ve Had Religion” is as a
regretful tale of woe as any Gaellic minstrel could share. Head
banging and fist pumping, but with a heart of gold.

Back in the studio, Gallagher’s 1973 production of Blueprint had a
slight change in the personnel, with Rod de’Ath/dr and Lou Martin/key-g
now on the team. Gallagher’s voice is leather worn by this time, and
he’s starting to sound like an Irish version of Walter Brennan on
acoustic tales such as “Banker’s Blues” and “If I Had A Reason.” A
foreboding tune such as “Seventh Son Of A Seventh Son” grabs you by the
throat, as Gallagher’s voice and six stringer create a mysterious
atmosphere. Rockers won’t be disappointed here, though, as the opening
track “Walk On Hot Coals” has enough energy to light up the streets of
Chicago, while “Hands Off” could be an anthem for rowdy twenty
somethings. What’s impressive about this and all of the preceding
releases is how Gallagher wears his musical heart on his sleeve. You
can palpably sense his connection to the music, and his belief in its
veracity. Sure, we’ve got a few guys out there like Johnny Lang, but
there’s a difference between playing it, and living it. You can feel
the calluses in his hands.

The last remaining release, Notes From San Francisco, is a two-fer. The
first disc is a previously unreleased 1977 collection of studio pieces
with McAvoy, Martin, de’Ath, Joe O’Donnell/violin and Martin Fiero/sax.
The second is a 1979 gig at The Old Waldorf in SFO with his usual
power team. The unreleased ’77 studio set has a sordid history, with arguments between the musicians and engineer over the production sound, etc eventually causing it to be shelved. Here, it’s been re-mastered with excellent acoustics, and the music itself is a treat, a cooker, with sparks flying faster than a welder’s wheel. The sax on
“Mississippi Sheiks” and violin on “Rue The Day” and “Brute Force and
Ignorance” add an extra texture to the music, while Gallagher melds
brute force electric and back porch country folk like a home made
recipe. You can almost feel the polyps in Gallagher’s voice by this
point, particularly in the hard jamming concert set, that includes a
high cholesterol intake on “Sea Cruise” and “Shinkicker.” This set has
more energy than subtlety, as he was inspired by the then current nascence of punk rock, so there’s a bit of Eddie Cochran rockin’ tonight, nevertheless, it’s going to be a Strat fan’s delight.