REMEMBERING RORY GALLAGHER 25 YEARS LATER
A RETROSPECTIVE RANKING
Rory Gallagher began his career with the power rock trio Taste in his native Ireland in the late β60s. After releasing two studio albums and two live recordings, the group disbanded just as they were finding an audience. During his time with Taste, Rory combined blues, jazz, folk, and proto-metal and forged a unique sound that was completely different from any hard rock act of the day. There was something uniquely Irish in his guitar technique and musicianship that separated him from the likes of Eric Clapton or Jimi Hendrix.
His post-Taste career saw Gallagher making some of the best blues rock albums of all time, however his efforts went largely unnoticed by the record buying public. While he never had the success of his peers, Gallagher is still cherished by both blues aficionados and guitar players alike. Artists as varied as Brian May, Johnny Marr, and Slash have all praised him and cited him as a key influence in some way.
On June 14, 1995 after years of years of alcohol and prescription drug abuse, Rory Gallagherβs liver failed him. He was 47.
The albums below include both live and studio recordings from Gallagherβs solo career. Typically, live albums are omitted from rankings such as these, however since some of his best work was typically recorded live, weβve made an exception.
14. Stage Struck (1980)
Generally speaking, Gallagher was at his best when playing live. Naturally a shy person, he morphed into a guitar god with an incredibly energetic stage presence when in front of an audience, though on his third official live release, Stage Stuck, we find something lacking. While his guitar technique is still good, it seems uninspired and you can hear the booze and pills beginning to their toll on his vocals. Key tracks: βShin Kickerβ, βBrute Force and Ignoranceβ
13. Jinx (1982)
At the beginning of the β80s Gallagher seemed to be losing his way in the studio. After two solid recordings with this new power trio lineup, he started slipping with Jinx. While on Photo-Finish and Top Priority he managed to maintain his signature tone, here it seems as though he was aiming for a heavy metal vibe. His style seemed to be leaning toward that of Van Halen. Through all of the unimaginative material though the rock βnβ roll inspired βThe Devil Made Me Do itβ is one killer track. Key tracks: βThe Devil Made Me Do itβ, βBig Gunsβ
12. Defender (1987)
While a slight improvement over the lackluster Jinx, Defender suffers from much of what Stevie Ray Vaughnβs later work does, overproduction. While there seems to be a sense of Gallagher returning to the blues, the album is too slick and, when listened to 30 plus years later, sounds more like lounge music than the top tier blues rock Gallagher was capable of producing. Key tracks: βLoanshark Bluesβ βContinental Opβ
11. Blueprint (1973)
With the addition of keyboardist Lou Martin and drummer Rod Deβath, Gallagherβs third studio release sees him exploring completely new ground. Perhaps to make a more cohesive four-piece sound, he dials back the signature aggressiveness of his technique. The new incarnation of the band, together less than a year at this point, sound as if they are still trying to find their sound for most of the songs. While there are certainly some gems on Blueprint, they are outweighed by the forgettable filler material that bogs down the rest of the record. Key tracks: βWalk on Hot Coalsβ, βUnmilitary Two-Stepsβ
10. Fresh Evidence (1990)
On Gallagherβs last studio album, we find him returning to the music that he began his career with, the blues. Tracks like βMiddle Nameβ and βEmpire State Expressβ have that old school grit to them that hadnβt been heard on list recordings since the mid-β70s. There are some fresh elements though with Gallagher introducing a New Orleans Zydeco vibe on tracks like βThe Loopβ, βGhost Bluesβ and the aptly named βKing of Zydecoβ. Key Tracks: βGhost Bluesβ, βEmpire State Expressβ
9. Against the Grain (1975)
Coming hot off of his legendary Irish Tour, Gallagherβs return to the studio was solid but nowhere near as triumphant. While there is some brilliant material on here, βBought & Soldβ is be one of his most well-crafted songs, there are a lot of tracks on this one that are just vanilla. Hidden gems like βLost at Seaβ, βI Take What I Wantβ, the Leadbelly cover βOut on the Western Plainβ are fantastic, the filler songs that start the album off do not set the stage for the other worthy tunes. Key tracks: βBought & Soldβ, βOut on the Western Plainβ
8. Top Priority (1979)
Continuing to shy away from the classic blues that he began his career with, Rory takes one step further into the hard rock realm that he began exploring on Photo-Finish. Taking inspiration from Eddie Van Halen, Top Priority finds Gallagher dabbling in heavily distorted and flanged-out riffs. Still willing to experiment here, Gallagher borrowed an electric sitar from Pete Townshend which brings to life βPhilbyβ, the second track on the album. On Top Priority he is beginning to shout more than actually sing but the overall crispness of the band makes this somewhat unnoticeable. Key tracks: βFollow Meβ βBad Pennyβ
7. Tattoo (1973)
After the somewhat dull Blueprint, the four-piece Rory Gallagher band really started to gel here. The jazzy βThey Donβt Make Them Like You Anymoreβ is pure magnificence, while βLiving Like a Truckerβ oozes β70s funk. Tattoo sees Gallagher compose tighter material like βCradle Rockβ and βA Million Miles Awayβ, while still managing to let loose his fiery solos when needed. Key tracks: βTatooβd Ladyβ, βThey Donβt Make Them Like You Anymoreβ
6. Photo-Finish (1978)
Having recently seen the Sex Pistols live, Gallagher was so inspired he decided to take things back to basics. The result saw the end of his four-piece, with Rory dismissing drummer Rod Deβath and keyboardist Lou Martin. Keeping long-time bassist Gerry McAvoy and adding drummer Ted McKenna, Gallagherβs battered Stratocaster once again becomes the primary focal point for his newly envisioned sound. Kickstarting the album with the punky βShin Kickerβ, there is very little reason not to like that follows. Bringing the influence of β50s rock with βCruise on Outβ and βLast of the Independentsβ and even throws in somewhat of a power ballad with βFuel to the Fireβ. However, it is the rifftastic βShadow Playβ that steals the show. Key tracks: βShadow Playβ, βCruise on Outβ
5. Calling Card (1976)
Gallagherβs final album as a four-piece is certainly one of his most well-crafted and well-produced albums of his career. Hiring Deep Purple bassist, Roger Glover, to produce helped breathe new life into Roryβs studio work. Tracks like βMoonchildβ, βEdged in Blueβ and the folky ballad βIβll Admit Youβre Goneβ are some of his best honed tunes. Any one of these could have been smash hits on the rock charts of the day. Gallagher, however being a staunch opposer of singles decided against it and stuck to his artistic integrity. One could only imagine if he had listened to the A&R men how different his career could have gone. Key tracks: βMoonchildβ, βEdged in Blueβ
4. Live in Europe (1972)
The signature Rory Gallagher tone is a Fender Stratocaster plugged into a Vox AC30, boosted by a Dallas Rangemaster for some extra grit. Brian May of Queen, who loved Gallagherβs sound, has stated many times that he used nearly identical gear to copy his tone. When listening to Live in Europe, his first gold album, itβs clearly evident where May found his sound. Gallagher, feeding off the live audience, plays some absolutely filthy guitar licks that he rarely captured in the studio. On the flip side to the hard-edged blues, there is some great acoustic material. Gallagher brings out the Dobro slide guitar on Blind Boy Fullerβs βPistol Slapper Bluesβ and even nails on the mandolin with βGoing to My Hometownβ. If you are looking for an album to familiarize yourself with Gallagherβs music, this is a great place to start. Key tracks: βI Could Have Had Religionβ, βMessinβ With the Kidβ
3. Rory Gallagher (1971)
After the breakup of Taste in 1970, Gallagher wasted no time in forming a backup band for his solo career. Accompanied by Wilgar Campbell on drums and Gerry McAvoy on bass, the newly-formed trio gelled instantly. Still hot off his stint with Taste, there is a freshness to these songs that he rarely would ever achieve in the studio again. βJust the Smileβ is beautiful acoustic ballad that could have been a perfect single, while βLaundromatβ has to be the most criminally underrated blues rock track ever. But thereβs more to his debut than just acoustic ballads and blues licks. On βCanβt Believe itβs Trueβ and βI Fall Apartβ Gallagher shows off his versatility by experimenting with jazz-inspired licks and solos. Much like Calling Card, Gallagherβs self-titled debut has incredibly well-honed material that showcases his gifts as a guitarist without taking away from the essence of the songs themselves. Key tracks: βLaundromatβ, βJust the Smileβ
2. Deuce (1971)
Released a mere six months after his debut, Rory rushed out the raw and gritty Deuce as a follow up. The tracks were recorded both before and after his live shows in order to give the feeling of a live concert. The result is a beast of an album with some of the most intense jamming of Roryβs career. Gallagher showcases his slide guitar playing more on this album than perhaps on any other with beauties like βCrest of a Waveβ, βWhole Lot of Peopleβ and βIn Your Townβ. There is more to Deuce than just aggressive blues rock; tracks like βOut of My Mindβ and album opener βIβm Not Awake Yetβ show of his ability to craft scenic folk-rock. The latter track, a brilliantly composed tune, is based around McAvoyβs pulsating bass lines giving Rory free rein to experiment with acoustic Celtic guitar parts. Guitar legend Johnny Marr, formerly of the Smiths, has citing Deuce as a key influence to his early guitar playing.Β Key tracks: βCrest of a Waveβ, βMaybe I Willβ
1. Irish Tour β74 (1974)
If there is one album to sum up who Rory Gallagher was, it would be Irish Tour. Recorded over several shows in January 1974, the tour coincided with the tumultuous times in Belfast known as βThe Troublesβ. Violence from the IRA had kept most acts, Irish or not, from performing on the Emerald Ilse. However, Gallagher felt obligated to stick to the touring schedule and show his countrymen a good time. While it was never documented which tracks were recorded in Belfast, Gallagher recorded in Dublin and Cork as well, the energy between band and audience seems to be amplified by the troubles of Ireland giving Irish Tour an intensity few other live albums can match. Gallagherβs blistering solos on βWalk On Hot Coalsβ, βCradle Rockβ and βA Million Miles Awayβ are on a completely different level of genius than their studio counterparts. You can hear he is pushing himself to the limit and feeding off of the electricity of the Irish audience. Key tracks: βA Million Miles Awayβ, βCradle Rockβ