Fifty years ago to me is a strange concept. In my early
teens, I remember the 50th anniversary of the end of World War II. I
think that has fixed in my head the notion that 50 years ago means austere
images of the mid-1940s, all monochrome and stiff upper lip; it was very much A
Very Long Time Ago. So, as an adult, seeing anniversaries, such as the 50th
anniversary of Rory Gallagher’s debut solo album is a strange one. He is not
all monochrome, stiff upper lip and all that. He is vibrant. Photos of him, he
could easily be some guy on the Glasgow music scene, denim clad, long hair and
bouncing about at a gig with his much-loved guitar. There’s something timeless
about Rory and his music. But an anniversary is an anniversary and 50 years
since Rory’s debut solo album came out is one to celebrate for sure.
It’s been done in style with the release of the box sets of his eponymous
debut. There are a couple of formats. The deluxe edition is a mighty 5-disc
set, reviewed here by guest writer Dr Lauren O’Hagan. I got the 2-disc CD set,
a review of which will also be featured here. As Lauren and I both found, each
set has something for everyone.
Dr Lauren O’Hagan
Rory Gallagher’s eponymous debut
solo album, or the “Black Album” as he called it, holds a special place in my
heart. It was my introduction to Rory some five years ago and, from the opening
riff of ‘Laundromat’ to the closing sax solo of ‘Can’t Believe It’s True’, I
was well and truly hooked. So, when the 50th anniversary release was
announced earlier this year by the Gallagher Estate, I knew I would have to
splurge on the deluxe box set.
Measuring 33cm by 33cm, weighing
in at a whopping 2.5kg and featuring the iconic black and white photo of Rory
taken by Mick Rock on its cover, the box set. really is a sight for sore eyes.
It pulls out to reveal a beautifully decorated slipcase featuring a collage of
archival articles and photographs from Melody Maker, Sounds and Disc
& Music Echo, all waxing lyrical over Rory and his new band. Then,
housed inside the slipcase itself, comes the real treat: the hardback book
filled with unseen photographs of Rory taken by Barrie Wentzell, essays by
Rory’s brother Dónal and band mate Gerry McAvoy and historic interviews with
Rory himself.
But, for me, the pièce de
résistance is the opportunity to see Rory’s handwritten lyrics, scribbled onto
scraps of paper, with words and phrases crossed out, added and moved. Not only
do they give a real insight into his creative process, but they also drive home
the pain and anger he felt at the Taste break-up and the nasty aftermath played
out in the press. No less than six songs on the album touch upon this theme and
original lyrics that were later discarded truly emphasize Rory’s hurt: “You’ve
cooked your goose and the feathers are flying” in both ‘Wave Myself Goodbye’
and ‘For the Last Time’, “When night and day collide, you won’t be around” in
‘I Fall Apart’ and “It’s getting harder to face each day; it’s getting easier
to run away” in ‘I’m Not Surprised’.
Before discussing the CDs, I
can’t resist drawing attention to their presentation, which has been thought
about so carefully. They are stored in a vinyl-sized gate fold featuring more
classic shots of Rory by Barrie Wentzell, opening to reveal a print of the
original advertisement for Rory’s 1971 UK tour. Then, tucked neatly inside, is
a large poster of an angelic-looking Rory with his gaze cast downwards to his
beloved Strat.
The first disc is a remixed
version of the original album, which, as expected, sounds excellent. With their
blend of rock, blues, country, folk and jazz, the songs showcase Rory’s
versatility, and they sound so fresh today that it’s hard to believe that they
came out 50 years ago.
The second disc features songs
from the Tangerine Sessions and alternate takes. The particular standout is
Take 3 of ‘At the Bottom’ – a song that didn’t appear until 1975’s Against the
Grain. The version here is more up tempo and features a fantastic harmonica
solo by Rory, making you wonder how it didn’t appear in this form on the debut
album. Other honourable
mentions go to ‘Advision Jam’ – a brilliant bluesy instrumental – and Take 1 of
‘Just the Smile’, which has Rory humming along softly with his guitar-playing
(it feels so intimate that it’s like he is sitting just beside you!).
Disc 3 delights with even more
alternate takes that provide a real sense of Rory’s genius – his ability to
improvise and subtly change lyrics, riffs and chords like nobody else I have
ever seen. Here, Take 2 of ‘Hands Up’ and Take 2 of ‘Sinner Boy’ are the major
highlights, while ‘Can’t Believe It’s True’ gives us a glimpse of Rory’s notorious
perfectionism as he starts and stops six times, unhappy with the take. Almost
as good as the music itself is the chance to hear Rory’s interjections and
comments before and after takes, which makes you feel like you are being
treated to your own private performance in the studio (if only, eh?).
The final disc offers
barnstorming renditions of ten songs taken from BBC Sound of the Seventies and
John Peel’s Sunday Concert. ‘In Your Town’ is always a treat for the ears, but
the version here is particularly dazzling with Rory’s killer slide. The cover
of Otis Rush’s ‘It Takes Time’ is also guaranteed to leave you speechless
(shoutout to Gerry too for an incredible bass solo!). In fact, the John Peel
set is so good that I couldn’t help but also treat myself to the
limited-edition orange vinyl format, which sounds even better (if that was
humanly possible!) and fits neatly into the slipcase. Win-win all around!
Finally, it’s time to discuss the
DVD of Rory’s first solo gig, which took place at La Taverne de l’Olympia in
Paris on 30th April 1971. While the concert has been on YouTube for
some time, the quality is poor, so it was a real joy to have the opportunity to
watch it in high definition at last. The DVD opens with a great little
interview with Rory discussing his musical influences, before leading into the
concert itself with a set list of seven songs. The band is so tight and in sync
that you wouldn’t believe it was their first time playing together before an
audience. It’s hard to pick one high point because the full 50 minutes are
outstanding, but at a push, I would say ‘Wave Myself Goodbye’ (I have a real
soft spot for acoustic Rory!) and ‘The Same Thing’ (Rory at his bluesy best!).
So, all that’s left for me to say is a huge thank you to Dónal and his son Daniel for putting out an incredible release. I am sure that Rory would be so proud of all your hard work, and I have no doubt that, in another 50 years, we will still be talking about the “Black Album” as one of the greatest debuts of all time.
The 2-CD set of Rory’s 50th
anniversary is a pared down version of the 5-disc set. It features the remix of
the original album on disc one. As I write, ‘Sinner Boy’ is currently massaging
the airways from my nice new Bluetooth speaker (thanks dad!) and putting it
bluntly, it sounds fresh as a daisy, loaded with soul and spirit. With only
bass, drums and Rory on guitar and vocals, it shows that an uncomplicated set
up is in many cases the best.
And on we go to ‘For The Last
Time’, one of Rory’s songs that punches the gut. There’s no deep-set navel
gazing, which some music of the late 1960s and early 1970s put an awful lot of
effort into – and not always for the best. With Rory, you just get to the heart
of it. The remix of the album adds a fresh edge to it. It sounds vital, like
the sort of music we need. Much modern mainstream pop music these days sounds
like calcified nonsense. It’s just a noise, with little thought or depth beyond
how much cash it may rake in. And perhaps how much of an annoying ear worm it
can be, making someone unwittingly hum it to their great chagrin as they go
about their day. We also need something that we can feel, and Rory Gallagher
(both the man and the album) offer this in spades.
The mix on the album is something
that leaves you hearing the unexpected. One minute you’re listening to folk,
the next blues, the next country. It speaks volumes about the versatility of
Rory. Special mention must also be given to Wilgar Campbell, the first drummer
of the Rory Gallagher band. He and Gerry already had experience playing
together as the rhythm section of Deep Joy and they form an excellent backbone
for Rory. They allow him to do what he does best, without any fuss or nonsense.
Wilgar unfortunately left Rory’s band in 1972 owing to ill health, Rod de’Ath
stepping in as replacement. Listening to Wilgar in this new edition, it becomes
apparent how strong a drummer he was – and very different in style from the
also immensely talented John Wilson of Taste. Wilgar is a drummer whose work
deserves more appreciation.
As for Gerry, though he had
experience gigging with Deep Joy, this was his first experience in the
recording studio, at 19 years old. Gerry’s bass is strong. He may have yet to
discover the link that made both him and Rory quite the partnership over 20
years, but he is well on the way. In a recent interview to mark the new 50th
release, Gerry said it took a bit of getting used to wearing headphones while
in the studio, but neither that nor the newness of the situation seems to have
phased him, ‘I was just a kid!’, as he said in the same interview, and all!
The second CD of the set is a shorter selection of the outtakes and Sound Of The Seventies live performances that feature more extensively in the 5-disc set. But at 18 tracks long, it’s still quite a lengthy collection. Each offer a fascinating tidbit into how the album came together and how the three musicians gel in the process. ‘I Fall Apart’ is one of my favourite Rory tracks. On the album version, he delivers one of the most searing guitar solos I’ve ever heard. To have it on the second CD with both the Tangerine Studio Session and the Sounds Of The Seventies, is a treat for me. It just adds to the number of versions I could merrily have on repeat. My neighbours blast cheesy dance choons that rip through the ears, so I think they can live with ‘I Fall Apart’ over and over. The energy of the guitar solo is just as strong as the take Rory finally settled on. Getting to hear ‘behind the scenes’ on the outtakes and extras is fantastic for the Rory devoted fan. We see a lot of his energy as a live performer from the archive concert videos on YouTube and DVD, but to hear him talking away in the studio and working out where the song is going is an extra dimension. The 2-disc set also comes with a great booklet, featuring essays of memories by Dònal and Gerry, along with some smashing photography by Barrie Wentzell.
It might all be 50 years ago, but Rory isn’t a figure trapped in a bygone age. More and more younger fans are discovering his work, and he is growing increasingly popular. For the last couple of years of living in lock down, he has been a tonic. His nephew Daniel is to be highly commended for his work on this release. A look over the credits on the CD reveal that, just like when he started out with younger brother Dònal helping with, well just about everything involved in running a music career, Rory is still very much a Gallagher family affair. As well as the work of Daniel in production, his brother Eoin is credited with the archive research and scanning. And of course, their Dad Dònal is still looking after Rory as he has done all these years.
This is what gives Rory the edge above all other ‘legacy’ acts, outside his own brilliance as a musician – it’s not some bloated corporate affair available only to the most minted of fans. Whether they go for deluxe or standard editions of the 50th, Rory is within easy reach of all.
