#3 Edged In Blue

Album: Calling Card, 1976

By 1976, it’s thought by many that Rory was starting to fully flourish in his talents. It may however be a matter of opinion as many are as blown away by the 22-year-old ripping it up with Taste at that legendary gig on the Isle of Wight in August 1970, as they are by the 28-year-old doing his 1976 Rockpalast set, as well as many other eras of Rory’s career.

This was the year Rory recorded Calling Card, his second album for Chrysalis, with whom he signed in 1975. Previously with his solo albums, Rory himself oversaw production. This time he tried something a little different, obtaining the services of Deep Purple’s Roger Glover as a co-producer. Calling Card was recorded at the Musicland Studios in Munich, Germany during the summer of 1976. At this point, his line up consisted of the highly regarded Belfast pianist/keyboardist Lou Martin and drummer Rod de’Ath of Saundersfoot, Wales. As ever, Gerry McAvoy remained on bass.

This incarnation of The Rory Gallagher Band has been around the block a few times by the time they reached the Musicland Studios. Rod had replaced Wilgar Campbell in 1972, when the latter struggled with the travel involved in a touring band, having developed a fear of flying. Soon after, Rory added Lou to the line up after being told by Rod how good a pianist his fellow ex-Killing Floor bandmate was, and Rory was duly blown away by seeing him play. This was the line up of the legendary Irish Tour 74 album and Irish Tour movie. They were a force to be reckoned with.

Calling Card is a slight departure from Rory’s previous work. It still had the blues rock, but this time meshed with a hint of jazz and features some of the most sublime songs Rory has ever written. When asked what album people new to Rory’s music may want to check out first, his nephew Daniel said Calling Card. ‘Edged In Blue’ is a perfect example of this. Described by some as having a tinge of the Peter Green style, it is an all-out rock classic full stop. The record saw it as a potential single, and it was suggested that both the intro and guitar solo could be edited down to make it short enough for radio play. Rory, famously anti-singles, was having none of it. Who knows what could have done in the charts? But at the same time, why mess with something that good?

"Here I am, where are you?
Tell me please, what to do,
Here I am, broken into,
All my days are edged in blue.

I'd go anywhere, if I thought you'd be there,

'Cos I've made up my mind that's where I belong.
I've travelled the world 'cos I couldn't be told,
Told by my heart that you really had gone."

 Again, it’s another interesting exercise in taking the lyrics apart from the music and seeing the lie of the land. There’s no doubt about the fact that Rory was rather a formidable writer. Song lyrics aren’t just throwaway in rock and blues. They can  carry a depth and more than hold their own against some of the best poems (or indeed beat them, but that’s just this particular writer’s opinion.)

 It has been said several times Rory was a quiet, reserved person, perhaps not given to wearing his heart on his sleeve. But in his words and music, it’s a different kettle of fish. It’s there clear as day. We don’t know what caused the hurt, nor is it our right to probe the private life of a man who kept it just that, private, but it’s clear he’s had his heart broken.

 But there is a juxtaposition between the slightly chirpy music and the lyrics. Despite laying it out in the song, he still seems to be hiding the emotion of the words. To get to it, you really have to listen. Rory certainly did not make background music.

 

Belatedly dedicated to birthday boys Gerry McAvoy and Brendan O’Neill (first published Dec 2020)