Rory Gallagher -

Rory Gallagher (March 2, 1948 — June 14, 1995) was an Irish blues-rock and hard-rock guitarist active from the late 1960s to the early ’90s.

He first gained prominence as the frontman for the Cork power-trio Taste, which released two albums in 1969 and 1970. Launching his solo career in 1971, he issued four albums across three years, including his self-titled debut, Deuce, and the live document Live in Europe.

His popularity peaked between 1975 and 1979 with a series of hard-rock albums, including Calling Card Photo-Finish, and Top Priority. Though his output slowed in the 1980s, he continued to release music with the live album Stage Struck and two studio albums, Jinx and Defender.

Background

William Rory Gallagher was born on March 2, 1948 in Ballyshannon, County Donegal, to an electrician father and actress mother. He was mostly raised in Cork with his younger brother Dónal (b. 1949). Both boys were encouraged to enter music at an early age.

At age nine, Rory got his first guitar and soon mastered other instruments, including mandolin, banjo, and the coral sitar. His earliest influences were skiffle and rock n’ roll. Through artists like Lonnie Donegan and Muddy Waters, he discovered the folk and blues styles that would inform most of his work.

In 1963, Gallagher joined the six-piece Irish showband Fontana, which played the day’s hits. Under his influence, they gradually morphed into the R&B/beat quintet The Impact. Toward the end, it was down to him and two other members, the bassist and drummer. After they toured Europe, Gallagher decided he liked the rock trio format.

Settling back in Cork, Gallagher formed The Taste with bassist Eric Kitteringham and drummer Norman Damery. They issued the single “Blister on the Moon” (b/w “Born on the Wrong Side of Time”) on Major Minor in 1968.

Gallagher then moved to Belfast and formed a new iteration of the trio, this time called Taste, with bassist Richard McCracken and drummer John Wilson. They signed to Polydor and released two albums, Taste (1969) and On the Boards (1970).

A few months after their performance at the Isle of Wight Festival, Taste disbanded amid managerial and internal disputes. McCracken and Wilson formed Stud with ex-Blossom Toes guitarist Jim Cregan. Gallagher retained his Polydor ties and launched a solo career. He formed a new trio with the rhythm section of Deep Joy, an unrecorded Taste opening act.

Rory Gallagher

Rory Gallagher released his self-titled debut solo album on May 21, 1971, on Polydor.

The album features drummer Wilgar Campbell and bassist Gerry McAvoy, Rory’s right-hand man going forward. Vincent Crane of Atomic Rooster contributes piano to “Wave Myself Goodbye” and “I’m Not Surprised.” Gallagher handles vocals, guitars, mandolin, harmonica, and saxophone, exploring different moods and styles with an emphasis on rawness.

Rory Gallagher opens with “Laundromat,” an up-tempo blues-rock track with sharp guitar work and a driving pace. This is followed by “Just the Smile,” a stripped-back acoustic song with unadorned vocals and intricate fingerpicking. “I Fall Apart” is a mid-tempo, soulful blues shuffle. The barrel-house piano on “Wave Myself Goodbye” gives the track a spirited, acoustic blues feel. Side A also contains the high-energy track “Hands Up.”

Side B features “Sinner Boy,” a track with a pumping bass rhythm and a prominent slide guitar performance. “It’s You” is a lively country blues song with slide and mandolin. The slow, gritty ballad “For the Last Time” features a sustained, emotional guitar performance. The album closes with “Can’t Believe It’s True,” a lengthy track embellished with saxophone.

A1. “Laundromat” (4:38)
A2. “Just the Smile” (3:40)
A3. “I Fall Apart” (5:10)
A4. “Wave Myself Goodbye” (3:27)
A5. “Hands Up” (5:24)

B1. “Sinner Boy” (5:30)
B2. “For the Last Time” (6:34)
B3. “It’s You” (2:38)
B4. “I’m Not Surprised” (3:35)
B5. “Can’t Believe It’s True” (7:15)

Gallagher self-produced the album in early 1971 at Advision Studios, London, with engineer Eddy Offord, a concurrent soundman for Yes and Emerson Lake & Palmer. Hipgnosis designed the album’s shaded monochrome half-portrait cover.

Rory Gallagher went Top 20 in Sweden and Germany and reached No. 10 on the Scottish Albums Chart.

The 1999 CD reissue contains two bonus tracks: a cover of Muddy Waters’ “Gipsy Woman” and a version of the Otis Rush song “It Takes Time,” a 12-bar Chicago blues tune.

Deuce

Rory Gallagher released his second album, Deuce, on November 28, 1971, on Polydor.

Following his debut by just six months, the album maintains a power trio format with bassist Gerry McAvoy and drummer Wilgar Campbell. Recorded frequently after concert appearances, the album was a deliberate effort to capture the band’s live sound, resulting in a stripped-down approach.

Deuce opens with “Used to Be,” a driving blues track with a repetitive guitar figure and frenetic drumming. “I’m Not Awake Yet” is a folk rock ballad with interwoven acoustic and electric guitar lines over a forward-moving bass performance. Gallagher’s harmonica adds texture to “Don’t Know Where I’m Going,” a country-folk track. “Maybe I Will” is a jazzy, angular track with fast-paced guitar runs and a subdued vocal performance. The side closes with “Whole Lot of People,” a riff-laden song with a strong bass line and prominent slide guitar.

The album’s second side opens with “In Your Town,” a track centered on slide guitar with a stereo mix that shifts guitar solos from left to right. “Should’ve Learnt My Lesson” slows the pace for a traditional blues number. “There’s a Light” is a psychedelic track with a jazzy feel, unique guitar melodies, and a potent solo. “Out of My Mind” is a solo acoustic country blues performance. The set closes with “Crest of a Wave,” a slide guitar showcase with an aggressive, driving pace and building tension.

A1. “Used to Be” (5:06)
A2. “I’m Not Awake Yet” (5:38)
A3. “Don’t Know Where I’m Going” (2:45)
A4. “Maybe I Will” (4:13)
A5. “Whole Lot of People” (4:54)

B1. “In Your Town” (5:43)
B2. “Should’ve Learnt My Lesson” (3:34)
B3. “There’s a Light” (5:59)
B4. “Out of My Mind” (3:00)
B5. “Crest of a Wave” (5:52)

Gallagher self-produced the album at Tangerine Studios, London. Robin Sylvester (ex-Ora) engineered Deuce and concurrent 1971 titles by Jan Dukes de Grey, Marsupilami, and Ricotti & Albuquerque. The no-nonsense album cover, photographed by Mick Rock, features a black and white shot of Gallagher in a t-shirt playing his guitar.

Live in Europe

On May 14, 1972, Rory Gallagher released Live in Europe, a document compiled from live performances recorded throughout the continent in February and March of that year.

The album captures the trio of Gallagher, bassist Gerry McAvoy, and drummer Wilgar Campbell in a raw state. It contains just two songs from his prior albums: one from his debut (“Laundromat”) and one from Deuce (“In Your Town”). The remaining five songs include a live original (“Going to My Home Town”), two blues covers and two traditionals.

Live in Europe opens with a dynamic rearrangement of “Messin’ With the Kid,” a Junior Wells cover with strident vocals. They deliver “Laundromat” with maximum energy, enhanced by crowd feedback. “I Could’ve Had Religion” slows the pace for a passionate interpretation of the traditional track. Blindboy Fuller’s “Pistol Slapper Blues” is a solo acoustic piece that merges into “Going to My Home Town,” an acoustic mandolin piece with a celebratory pace and audience participation. “In Your Town” is a nearly ten-minute jam with unbridled guitar stridency. The closing track, “Bullfrog Blues,” showcases Campbell’s drumming.

A1. “Messin’ With the Kid” (6:25)
A2. “Laundromat” (5:08)
A3. “I Could’ve Had Religion” (8:39)
A4. “Pistol Slapper Blues” (2:47)

B1. “Going to My Home Town” (5:53)
B2. “In Your Town” (9:46)
B3. “Bullfrog Blues” (6:53)

Rory Gallagher produced the album, which was engineered by Alan Perkins and Gerhard Henjes. Robin Sylvester served as remix engineer and mobile unit coordinator. The cover, a Mick Rock photograph, captures Gallagher in a flannel shirt with his battered Stratocaster.

Blueprint

Rory Gallagher released his third studio album, Blueprint, on February 18, 1973, on Polydor.

The album marks a significant change in the band’s lineup with drummer Rod De’Ath replacing Wilgar Campbell, and the addition of keyboardist Lou Martin, both from the band Killing Floor. This new four-piece lineup creates a fuller sound, defined by a musical equilibrium and a new delicacy that contrasts with the intense rock of prior releases. Gallagher wrote everything apart from “Banker’s Blues” by Chicago bluesman Big Bill Broonzy.

Blueprint opens with “Walk on Hot Coals,” a high-energy blues-rock track with sharp vocals and intense guitar solos. “Daughter of the Everglades” is a prettier, more subdued song with a carnivalesque atmosphere from the keyboards. “Banker’s Blues” is an acoustic blues track with harmonica, featuring a prominent piano part that complements the guitar. The side closes with “Hands Off,” a rollicking blues number with keyboard parts that add to the mix.

Side B opens with “Race the Breeze,” a country-blues track with a rolling train rhythm and slide guitar. “The Seventh Son of a Seventh Son” is a dark, riff-based hard rock track with a menacing intro. “Unmilitary Two-Step” is a solo ragtime piece on an acoustic guitar. The album closes with “If I Had a Reason,” a slow country-waltz featuring slide guitar.

A1. “Walk on Hot Coals” (7:01)
A2. “Daughter of the Everglades” (6:10)
A3. “Banker’s Blues” (4:44)
A4. “Hands Off” (4:32)

B1. “Race the Breeze” (6:52)
B2. “The Seventh Son of a Seventh Son” (8:23)
B3. “Unmilitary Two-Step” (2:48)
B4. “If I Had a Reason” (4:20)

Rory Gallagher produced the album, which was recorded in December 1972. Phil Dunn engineered at Marquee Studios, amid concurrent work on titles by Focus and Joan Armatrading, while Andy Stephens engineered at Polydor Studios, a concurrent soundman for Rare Bird and Bronco.

Family cover artist John Kosh designed the blue/magenta cover, which displays a tilted monochrome full-shot by photographer Michael Putland.

Tattoo

Rory Gallagher released his fourth album, Tattoo, on November 11, 1973, on Polydor.

Tattoo contains nine Gallagher originals, recorded as a four-piece with bassist Gerry McAvoy and the two Blueprint recruits: drummer Rod De’Ath and keyboardist Lou Martin.

The album opens with “Tattoo’d Lady,” a lively rocker marked by guitar/saxophone tradeoffs. “Cradle Rock” is a hard-charging, rhythmic track with a prominent harmonica performance. The acoustic country-blues song “20:20 Vision” showcases Rory in a solo light. “They Don’t Make Them Like You Anymore” features chiming effects, piano-guitar interplay, and jazz details. Side A closes with “Livin’ Like a Trucker,” a churning, effects-laden riff rocker.

Side B opens with “Sleep on a Clothes-Line,” a chugging, rhythmically taut blues-rocker. “Who’s That Coming” transitions from acoustic slide to electrified heavy rock. “A Million Miles Away” grows steadily from brittle guitar tones with strident vocals and sustained bass lines. The closing cut, “Admit It,” sallies forth with sizzling counterpoint.

A1. “Tattoo’d Lady” (4:40)
A2. “Cradle Rock” (6:15)
A3. “20:20 Vision” (3:58)
A4. “They Don’t Make Them Like You Anymore” (4:04)
A5. “Livin’ Like a Trucker” (4:20)

B1. “Sleep on a Clothes-Line” (5:13)
B2. “Who’s That Coming” (7:12)
B3. “A Million Miles Away” (6:54)
B4. “Admit It” (4:20)

Gallagher produced the album, which was recorded at Polydor Studios in London in August 1973. Carlos Olms engineered, and Robin Sylvester remixed the album. Art direction was by Ian Murray, and the illustration, by Robin Lawrie, shows a live photo in a wreath.

Irish Tour ’74

On July 21, 1974, Rory Gallagher released Irish Tour ’74, a document of his January home-country tour.

The tour was notable for including a performance in Belfast despite widespread civil unrest, with Gallagher’s presence bringing a sense of unity to the audience. This album captures the four-piece lineup of Gallagher, bassist Gerry McAvoy, drummer Rod De’Ath, and keyboardist Lou Martin.

The album draws tracks from Gallagher’s prior studio albums and live staples. One song comes from Blueprint (“Walk on Hot Coals”) and four from Tattoo (“Cradle Rock,” “Tattoo’d Lady,” “A Million Miles Away,” and “Who’s That Comin”’). The remaining five tracks are exclusive to this album, including four blues covers: “I Wonder Who” (Muddy Waters), “Too Much Alcohol” (J.B. Hutto), “As the Crow Flies” (Tony Joe White), and “Just a Little Bit” (Rosco Gordon), as well as one original, “Back on My (Stompin Ground).”

Irish Tour ’74 opens with a pounding live version of “Cradle Rock” featuring heavy rhythm and fiery guitar solos. This is followed by “I Wonder Who” and “Tattoo’d Lady,” another studio track delivered with unbridled energy. “Too Much Alcohol” is a dynamic blues jam with a call-and-response between the guitar and rhythm section. “As the Crow Flies” is an acoustic performance. The extended track “A Million Miles Away” begins with a creeping acoustic melody and builds into a hard-rocking instrumental section with powerful solos. “Walk on Hot Coals” is a fiery track with an overwhelming intensity. The ten-minute “Who’s That Comin'” is a showcase for the band’s live prowess. “Back on My Stompin’ Ground” is a jam-based original. The album closes with the Rosco Gordon cover, “Just a Little Bit.”

A1. “Cradle Rock” (6:40)
A2. “I Wonder Who (Who’s Gonna Be Your Sweet Man)” (7:45)
A3. “Tattoo’d Lady” (5:00)

B1. “Too Much Alcohol” (8:20)
B2. “As the Crow Flies” (5:35)
B3. “A Million Miles Away” (9:35)

C1. “Walk on Hot Coals” (11:05)
C2. “Who’s That Comin'” (10:07)

D1. “Back on My (Stompin Ground)” (5:20)
D2. “Just a Little Bit” (8:01)

The album was compiled from performances recorded at the Ulster Hall in Belfast, the Carlton Cinema in Dublin, and Cork City Hall using Ronnie Lane’s Mobile Studio. Director Tony Palmer also filmed many of the concerts for a theatrical motion picture.

Against the Grain

Rory Gallagher released his fifth studio album, Against the Grain, on October 1, 1975, on Chrysalis.

The album retains the tight-knit quartet of his two prior studio efforts: bassist Gerry McAvoy, drummer Rod De’Ath, and keyboardist Lou Martin.

Against the Grain opens with “Let Me In,” a fast-paced, boogie-styled track with driving lead guitar runs. “Cross Me Off Your List” is a jazzy track with deft fretwork and assured vocals. Rory spotlights a cleaner tone on “Ain’t Too Good,” a blue ballad. “Souped-Up Ford,” the album’s longest track, is an incendiary slide guitar boogie. Side A wraps with “Bought and Sold,” a rollicking boogie rocker.

Side B opens with “I Take What I Want,” a Sam & Dave cover marked by a keyboard break. “Lost at Sea” renders a classical melody with Rory’s signature Stratocaster licks. The Bo Carter cover, “All Around Man,” is a straightforward blues track with prominent slide guitar. He renders Lead Belly’s “Out on the Western Plain” with acoustic guitar and voice. The album concludes with “At the Bottom,” a reflective track with subtle guitar fills.

A1. “Let Me In” (4:03)
A2. “Cross Me Off Your List” (4:26)
A3. “Ain’t Too Good” (3:54)
A4. “Souped-Up Ford” (6:24)
A5. “Bought and Sold” (3:24)

B1. “I Take What I Want” (4:22)
B2. “Lost at Sea” (4:06)
B3. “All Around Man” (6:14)
B4. “Out on the Western Plain” (3:53)
B5. “At the Bottom” (3:19)

Rory Gallagher produced the album. It was recorded at Wessex Sound Studios and was engineered by Robin Sylvester, with Richard Stokes serving as assistant. The lacquer was cut at Trident Studios, and the album’s design was by Eckford/Stimpson with photography by JF Promoters and Dick Polak.

Calling Card

Rory Gallagher released his sixth studio album, Calling Card, on October 24, 1976, on Chrysalis.

Gallagher teamed with erstwhile Deep Purple bassist Roger Glover for the production of Calling Card, the fifth and final album by the quartet lineup with drummer Rod De’Ath, keyboardist Lou Martin, and bassist mainstay Gerry McAvoy.

Calling Card opens with “Do You Read Me,” a driving, muscular rock track with rough guitar riffs and subtle synthesizers. “Country Mile” is a fast-paced, slide-driven track. “Moonchild” is an angular rocker with rising vocals and strident, swelling guitar passages. The title track, “Calling Card,” is a jazzy and soulful track with a relaxed feel. Side A closes with “I’ll Admit You’re Gone,” a twangy ballad with arching bridges.

Side B begins with “Secret Agent,” a hard-rocking track featuring a prominent organ part. “Jackknife Beat” is a long-form track that blends Latin rhythms with jazz-blues fusion. The album concludes with “Barley & Grape Rag,” an acoustic rag with a country feel.

A1. “Do You Read Me” (5:15)
A2. “Country Mile” (3:08)
A3. “Moonchild” (4:38)
A4. “Calling Card” (5:22)
A5. “I’ll Admit You’re Gone” (4:20)

B1. “Secret Agent” (5:46)
B2. “Jackknife Beat” (6:59)
B3. “Edged in Blue” (5:29)
B4. “Barley & Grape Rag” (3:36)

Sessions occurred in the summer of 1976 at Musicland Studios in Munich, Germany, with Glover, who produced the 1973/74 Nazareth albums Razamanaz, Loud ‘n’ Proud, and Rampant. He co-produced Calling Card in sequence with titles by Strapps and the Ian Gillan Band.

The album was co-engineered by Hans Mensel and Reinhold Mack, the latter having worked on krautrock projects (Out of Focus, Sunbirds, Abacus, Sahara) before his rise to international prominence behind Donna Summer and Electric Light Orchestra.

After the Calling Card tour, Rory Gallagher retained McAvoy but terminated De’Ath and Martin.

Photo-Finish

Rory Gallagher released his seventh studio album, Photo-Finish, on October 1, 1978, on Chrysalis.

The album opens with “Shin Kicker,” a hard-edged boogie rocker. “Brute Force & Ignorance” is a southern-tinged track with mandolin. The tight-knit “Cruise On Out” roars with strident vocal delivery. “Cloak & Dagger” unveils slow, sizzling riffs with wailing harmonica and measured vocal bravado. Side A folds with “Overnight Bag,” a tapestry of electric/acoustic overdubs.

“Shadow Play” opens Side B with tense, frantic riffs across a melodramatic minor-key arc. “The Mississippi Sheiks” presents a laid-back Delta blues feel, written as a tribute to the Chatmon Family. “The Last of the Independents” is a rocker inspired by the Walter Matthau film Charley Varrick. The album concludes with “Fuel to the Fire,” a lengthy, slow blues track.

On Photo-Finish, Gallagher and longtime bassist Gerry McAvoy welcome Scottish drummer Ted McKenna, formerly of Tear Gas and the Sensational Alex Harvey Band. The album’s title refers to its last-minute delivery after a two-year release gap. Gallagher first recorded multiple songs in San Francisco with the Calling Card lineup before his decision to reconfigure the band.

A1. “Shin Kicker” (3:57)
A2. “Brute Force & Ignorance” (4:23)
A3. “Cruise On Out” (4:42)
A4. “Cloak & Dagger” (5:18)
A5. “Overnight Bag” (4:35)

B1. “Shadow Play” (4:46)
B2. “The Mississippi Sheiks” (6:06)
B3. “The Last of the Independants” (4:01)
B4. “Fuel to the Fire” (6:16)

Gallagher co-produced Photo-Finish in Germany with fellow Irishman Alan O’Duffy, a recent soundman for Alan Price, Horslips, and the reformed Animals.

Top Priority

Rory Gallagher released his eighth studio album, Top Priority, on September 16, 1979, on Chrysalis.

This was Gallagher’s second of two albums with his third power-trio with drummer Ted McKenna and bassist mainstay Gerry McAvoy.

The album opens with “Follow Me,” an amped-up track with a punkish edge. “Philby” concerns Cold War spy Kim Philby and features a solo performed on a Coral electric sitar (loaned to Gallagher from Pete Townshend). “Wayward Child” is a hard-rocker followed by “Keychain,” a taut track marked with fuzztone. Side A closes with “At the Depot,” an up-tempo track with slide guitar.

Side B begins with “Bad Penny,” a soulful track followed by the punk-influenced “Just Hit Town,” which concerns Gallagher’s dislike of flying. “Off the Handle” is a slow-burning, traditional blues-rock track. The album concludes with “Public Enemy No. 1,” a rollicking rocker with a raw tone. Later CD versions add two bonus tracks: “Hell Cat” and “The Watcher,” another punkish cut.

A1. “Follow Me” (4:41)
A2. “Philby” (3:51)
A3. “Wayward Child” (3:31)
A4. “Keychain” (4:09)
A5. “At the Depot” (2:57)

B1. “Bad Penny” (4:03)
B2. “Just Hit Town” (3:37)
B3. “Off the Handle” (5:37)
B4. “Public Enemy No. 1” (3:46)

CD bonus tracks:
10. “Hell Cat” (4:50)
11. “The Watcher” (5:46)

Like its predecessor, Gallagher co-produced Top Priority in Cologne with Alan O’Duffy. The album’s title referenced a promise from Chrysalis to heavily promote the new release.

Top Priority appeared in a black-white-red themed cover with a monochrome photo of Gallagher by Allan Ballard, backed with assorted live group pics in red framework. Ballard’s photography also graces 1979 sleeves for The Damned, Motorhead, The Stranglers, and their bassist JJ Burnel (Euroman Cometh).

Stage Struck

On May 14, 1980, Rory Gallagher released Stage Struck, a document of his world tour in support of his 1979 album Top Priority.

The album showcases Gallagher’s power trio of bassist Gerry McAvoy and drummer Ted McKenna in a faster-paced, hard rock setting.

Stage Struck features renditions of one song each from Against the Grain (“Bought and Sold”), Calling Card (“Moonchild”), and two from Top Priority: “Wayward Child” and “Follow Me.” They open with “Shin Kicker” from Photo-Finish, the source of “Brute Force and Ignorance” and the two final numbers: “The Last of the Independents” and “Shadow Play.”

Later CD issues include two further Top Priority numbers: “Bad Penny” and “Keychain.”

A1. “Shin Kicker” (3:50)
A2. “Wayward Child” (4:47)
A3. “Brute Force and Ignorance” (4:13)
A4. “Moonchild” (6:00)

B1. “Follow Me” (6:17)
B2. “Bought and Sold” (4:38)
B3. “The Last of the Independents” (5:37)
B4. “Shadow Play” (5:09)

CD bonus tracks:
9. “Bad Penny” (6:39)
10. “Keychain” (5:03)

Jinx

Rory Gallagher released his ninth studio album, Jinx, on May 2, 1982, on Chrysalis and Mercury (US).

Jinx marked a new trio Gallagher joined by returning bassist Gerry McAvoy and new drummer Brendan O’Neill. The album also features keyboardist Bob Andrews (Brinsley Schwarz, Graham Parker, The Rumour) and saxophonists Dick Parry and Ray Beavis.

Side A opens with “Signals,” a blues-rocker followed by “The Devil Made Me Do It” and “Double Vision.” The ballad “Easy Come Easy Go” features double-tracked acoustic and electric guitars. In the lyrics to “Big Guns,” Gallagher shares his interest in American gangster stories.

Side B opens with “Jinxed,” where “spooky” paranoid vibes converge with simmering sax, tom-toms, and Gallagher’s harmonica. “Bourbon” follows with a further gangster-themed vignette. He lays electric slide over “Ride on Red, Ride On,” a double-time burner followed by “Loose Talk.”

A1. “Signals” (4:31)
A2. “The Devil Made Me Do It” (2:54)
A3. “Double Vision” (4:48)
A4. “Easy Come Easy Go” (2:54)
A5. “Big Guns” (3:25)

B1. “Jinxed” (5:10)
B2. “Bourbon” (3:25)
B3. “Ride on Red, Ride On” (4:17) originated as a 1962 Roulette Records b-side by Alabama bluesman Louisiana Red; written by Henry Glover, Teddy Reig, and Roulette mogul Morris Levy.
B4. “Loose Talk” (3:50)

Rory Gallagher produced the album, which was engineered by Jurgen Kramer at Dierks Studios in Germany. John Denth mastered the album at The Sound Clinic. The album’s design was by John Pasche, with photography by Brian Cooke and Erhard Schultz.

Defender

Rory Gallagher released his tenth studio album, Defender, on July 1, 1987, on Capo/Demon.

The album closed a five-year gap since his previous studio effort and found him returning to a hard-hitting power trio format with longtime bassist Gerry McAvoy and drummer Brendan O’Neill.

Defender opens with “Kickback City,” a pounding, guitar-heavy blues-rock track. “Loanshark Blues” and “I Ain’t No Saint” mine swampy territory with the latter inspired by Albert King. “Continental Op” takes inspiration from Dashiell Hammett’s nameless fictional detective.

The album includes a cover of Sonny Boy Williamson II’s “Don’t Start Me Talkin’,” where Gallagher’s slide guitar interacts with musical guests Bob Andrews (piano) and Nine Below Zero’s Mark Feltham (harmonica). “Seven Days” is the album’s sole acoustic track with lyrics about a criminal fleeing the electric chair.

1. “Kickback City” (4:47)
2. “Loanshark Blues” (4:27)
3. “Continental Op” (4:32)
4. “I Ain’t No Saint” (4:57)
5. “Failsafe Day” (4:22)
6. “Road to Hell” (5:30)
7. “Doing Time” (4:05)
8. “Smear Campaign” (4:46)
9. “Don’t Start Me Talkin'” (3:34)
10. “Seven Days” (5:13)
11. “Seems to Me” (4:51)
12. “No Peace for the Wicked” (4:06)

Defender was produced by Rory Gallagher with a production associate credit for Alan O’Duffy and executive producer credit for Dónal Gallagher. Sessions occurred in 1987 at various studios in London, including The Point, Olympic Studios, and Music Works.

Fresh Evidence

Rory Gallagher released his eleventh studio album, Fresh Evidence, on May 1, 1990, on Capo.

Fresh Evidence expanded on prior arrangements with horns, accordion, and Gallagher’s multiple guitars and sundry instruments.

The album opens with “Kid Gloves,” a track inspired by hardboiled fiction about a prizefighter pressured by the mob. This is followed by “The King of Zydeco,” a tribute to musician Clifton Chenier, whom Gallagher regretted never meeting. “Middle Name,” a track inspired by blues legend Slim Harpo, has lyrics about a man in the American South before a coming storm. The album’s sole cover is of Eddie “Son” House’s “Empire State Express.”

“Heaven’s Gate” is a semi-redemption song inspired by Robert Johnson’s “Hellhound on My Trail.” “The Loop” is a jazz instrumental that opens with the sound of a train, reflecting its inspiration from Chicago’s elevated train tracks. “Walkin’ Wounded,” a track about a man who is down but still fighting, was partly inspired by Gallagher’s own health problems. The album concludes with the thundering “Slumming Angel.”

1. “Kid Gloves” (5:41)
2. “The King of Zydeco” (To Clifton Chenier) (3:44)
3. “Middle Name” (4:15)
4. “Alexis” (4:08)
5. “Empire State Express” (5:08) – (Eddie “Son” House)
6. “Ghost Blues” (8:02)
7. “Heaven’s Gate” (5:10)
8. “The Loop” (2:23)
9. “Walkin’ Wounded” (5:10)
10. “Slumming Angel” (3:40)

11. “Never Asked You for Nothin'” (4:29)
12. “Bowed Not Broken” (3:26)

The album was produced by Rory Gallagher and recorded by a team of engineers, including Colin Fairley, Daniel McGowan, John McGowan, and Will Reid-Dick. The core band of Gallagher, bassist Gerry McAvoy, and drummer Brendan O’Neill is joined by several guests, including Lou Martin (piano), Mark Feltham (harmonica), Geraint Watkins (accordion), and a horn section.

Fresh Evidence was a departure from Gallagher’s rapid-fire recording schedule, taking him six months to produce a “vintage, ethnic sound.”

Discography: