Rory+gallagher

Rory Gallagher's solo debut picks up where On The Boards left off - it's a solid, but significantly less raucous, blues rock outing with ten original tunes that were far more than skeletons for his incisive Strat picking. "Laundromat," "Hands Up," and "Sinner Boy"'s distinctive riffs were early concert favorites, but the album's ballads were some of Gallagher's strongest. "For the Last Time," "Just the Smile" and the acoustic "I'm Not Surprised" mixed strains of Delta blues with strong melodic sensibilities into songs of rare poignancy, especially for an artist who was best known for his scorching leads. In this respect Gallagher was an early model for Eric Clapton, whose solo career followed a similar path.

Remixed and expanded (with two additional tracks recorded but chopped off the vinyl version) for its debut on CD in 1999, this is a sturdy, workmanlike Rory Gallagher release. Reverting back to a trio, Gallagher toughens up his sound and blazes through some robust blues rockers like "Last of the Independents," "Shadow Play," and "Brute Force & Ignorance" (one of his best hard rock riffs) with nervy energy. Gallagher's swampy side emerges on "Cloak & Dagger," another song that explores his fascination with B-movie gumshoes, a common theme for the Irish blues-rocker. His guitar work is typically excellent throughout, especially on "Overnight Bag," as he overdubs himself on acoustic.

Released in November 1971, just six months after his solo debut, Rory Gallagher's second album was the summation of all that he'd promised in the wake of Taste's collapse, and the blueprint for most of what he'd accomplish over the next two years of recording. Largely overlooked by posterity's haste to canonize his next album, Live! In Europe, Deuce finds Gallagher torn between the earthy R&B of "Used to Be," a gritty blues fed through by some viciously unrestrained guitar playing, and the jokey, country-billy badinage of "Don't Know Where I'm Going," a too-short snippet that marries Bob Dylan to Ronnie Lane and reminds listeners just how broad Gallagher's sense of humor was.

The Original Album Classics series, courtesy of Sony/BMG, packages together five classic albums from one of the most popular artists on the label's roster, housing them in an attractive slipcase. This set from the Irish guitar legend features the albums Deuce (1971), Calling Card (1976), Top Priority (1979), Jinx (1982) and Fresh Evidence (1988). 56 tracks. For a career that was cut short by illness and a premature death, guitarist, singer, and songwriter Rory Gallagher sure accomplished a lot in the blues music world. Although Gallagher didn't tour the U.S. nearly enough, spending most of his time in Europe, he was known for his no-holds-barred, marathon live shows at clubs and theaters around the United States.

Rory Gallagher ‘All Around Man – Live In London’ is a 23-track live album of unreleased material taken from a previously undocumented period of one of the greatest guitarists of all time. Released as double-CD and triple-LP sets, this exhilarating album is pulled from two nights at the Town & Country Club (now the The O2 Forum) in London in December 1990. ‘All Around Man – Live In London’ was recorded from the shows that supported Gallagher’s eleventh, and sadly, last studio album ‘Fresh Evidence’ that was released in May 1990. This album features captivating live versions of tracks from that album as well as songs from the 1987 ‘Defender’ album plus other career favourites. This new album has been mixed from the recently found multi tracks and mastered at Abbey Road Studios, and the album’s cover is a painting by Irish graffiti artist Vincent Zara who has stencilled Rory’s image across his home country.

Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame.

Gallagher's fourth and final studio set for Chrysalis finds the Irish blues-rocker in prime form. Arriving only a year after Photo-Finish, when he spent much of his time on the road, it's remarkable that Gallagher could continue to churn out the hook-heavy high-quality tunes he wrote for this album. Playing larger arenas toughened his songs and attack, almost all of which here are high-octane sweaty rockers. While that makes for some thrilling, intense music, the nonstop vibrant energy rush is never balanced out with a ballad or even the rootsy, swampy blues that Gallagher always performed with such authority.