There’s no telling what treasures might be found in archives. Rory Gallagher’s is a case in point. In a recent article in the Irish Examiner, it was noted that Rory’s archive consists of over 1,000 tapes, amongst which was one simply marked T&C – that has now been released as the new live album, All Around Man – Live In London. The reasons why it was recorded are something of a mystery, but we can nonetheless be glad it was, as it captures a brilliant set of performances from the Town and Country Club, Kentish Town, London on 28 and 29 December 1990, from the Fresh Evidence Tour.
There are people who cast doubt on this, and the other Rory releases put out in recent years, arguing Rory wouldn’t have put them out himself. But at the end of the day, can you really say that for sure? A key point here, this is Rory’s closest family members overseeing the releases. It’s not some blink corporate cash in, with little to no input from loved ones. Such was the case with the work Jeff Buckley had recorded for a second album, which he was working on at the time of his drowning in the Wolf River in Memphis on 29 May 1997. His label were rolling ahead to release what had already been recorded, when a band member contacted Jeff’s mother, Mary Guibert, who immediately stepped in.
Dónal Gallagher worked closely with his brother from the very start (I think we can count from the days of childhood, when they started by duetting on stage, until that moment 9-year-old Dónal stopped during his solo turn on ‘A Scottish Soldier’ to inform 11-year-old Rory there was no guitar in that particular verse and was promptly sacked!). Arguably, there is no one better placed when it comes to knowing Rory. Dónal has done an admirable job of keeping the flag flying since Rory’s death in 1995. Today, Rory Gallagher is very popular, with a much younger generation falling in love with the man and his music. Credit is also due to Rory’s nephew, Dónal’s son Daniel, who has overseen the recent releases and pretty much everything else Rory related. Eoin Gallagher, Dónal’s eldest son, has also done sterling work scanning in visual archive material on album booklets, which any fan worth their salt would drool over. There is also close contact between the family and the fans, the overall effect being a personal touch not afforded to many late artists.
Another reason why All Around Man is important is the fact that Rory’s later career has all too easily been dismissed. By the time of Fresh Evidence, Rory had been struggling with his health for a while. Unfortunately, this has led to a lot of negativity about his abilities, state of mind and even physical appearance, with the result that his later work has been somewhat neglected. But ill health does not negate talent. As this new live album shows, he still had it and in droves. His songwriting also retained its usual high standard and was maturing with age. It’s safe to say he was developing in a new direction, something which had happened a few times in his career as he progressed as a musician. This album is vital in shining a light on a period that needs to be re-examined without all the ableist bullshit. What we have here is a man who was suffering, but he went out there and not only did it but did it to the high standard he had kept throughout his entire career. That takes guts, and if there is one thing you can say about Rory Gallagher, it is that he was a man of immense strength. Could any of the nay sayers of his later career do the same if the shoe was on their foot? I kind of doubt it.
As for the album itself, put the thing on and the sound will knock you off your feet. The band is tight, and Rory is on fire. It’s a fantastic introduction to Rory’s later material, which also hasn’t previously had the live album treatment and showcases his later songs as classics in the true Gallagher tradition. He often mentioned in interviews ‘the Rory Gallagher song.’ The uninitiated can have their socks blown off by ‘Heaven’s Gate,’ ‘The King Of Zydeco,’ ‘Continental Op,’‘Kid Gloves’ and ‘Ghost Blues’ to name but a few.
Some classics remain – for instance, when you don’t think the man can possibly do it again, surely with ‘Tattoo’d Lady,’ he actually goes and does it again. The same can be said of ‘Moonchild,’ ‘Shadow Play’ and ‘Shin Kicker’. Meanwhile, permanent live set fixtures, such as ‘Bullfrog Blues’ and ‘Messin’ With The Kid’ continue to blow away, with the added strength that almost 30 years’ experience has to offer. The acoustic section Rory is also famous for remains with ‘Out On The Western Plain,’ ‘Ride On Red, Ride On,’ ‘Walkin’ Blues’ and ‘Empire State Express’ – all blues classics with Rory very much showing his chops as a bluesman.
The album also offers a look at Rory with key band members who haven’t had the same level of exposure on his live albums, like for instance, Lou Martin and Rod de’Ath have. Brendan O’Neill joined the Rory Gallagher Band on drums in 1981 and had the longest tenure of all the drummers in the band. It’s about time Brendan’s work with Rory was given more notice. Listening to him here, his drumming is incredible. Mark Feltham joined Rory on harmonica in 1984 and also deserves the showcase this album provides. He segues in seamlessly with Rory’s guitar to the extent that he actually seems like an extension of the guitar! It’s often said that he and Rory had a strong bond. If there is more with Brendan and Mark in Rory’s archives, yes please!
So if you still have your knitting in a knot over Rory’s later career, do yourself a favour and get this. And if you haven’t touched Defender and Fresh Evidence yet, wrap them around your ears as an aperitif. Rory Gallagher in 1990 is just as vital as Rory Gallagher in 1973.
