What The Critics Say
The resurrected Buddha acquired the rights to much of Rory Gallagher's prime material in 1999. They began their reissue program with his first two albums, then they moved to what most hardcore fans would consider the crown jewel of the series, a double-disc collection of Gallagher's BBC sessions. Like most lead guitarists (at least those of his generation), he would often expand his music when playing live, turning in vibrant, exciting versions of his material, peppered with great guitar solos. Although it lacks the kinetic spark generated whenever a musician performs in front of a live audience, BBC Sessions is one of the finest live sets in his catalog, thanks to its crystalline fidelity, strong performances, and classy presentation. Certainly, this collection isn't for anyone that isn't already devoted to Gallagher, but for those who are, there's plenty to cherish here -- individual solos, impassioned vocals, and good liner notes. It's an excellent, worthy addition to his catalog, and it helps confirm Gallagher's gift as a blues-rock guitarist. ~ Stephen Thomas Erlewine, All Music Guide
'The Bullfrog Interlude'
What The Critics Say
There was no way that Rory Gallagher could have known that Fresh Evidence would be his last recording, but in retrospect, it is a good summary of all that is fine and some that is frustrating about his work. The first few tracks are competent but less than perfect; "'Kid' Gloves" is yet another weak song that is based on his well-known love of crime fiction, and "The King of Zydeco" shows that Gallagher may have liked zydeco music a lot, but he doesn't sound natural playing it. Things pick up on "Middle Name," which sounds a lot like the Doors' "The Wasp" but has some sharp soloing, and things really get rolling on "Ghost Blues." From this point on, it seems that Gallagher wanted to prove his mastery of every style of blues, and amazingly, he succeeds. The Delta blues of "Heaven's Gate" shows his mastery of the form, and the jazzy, swinging Chicago blues instrumental "The Loop" is a classic track. The very best was saved for last: the thundering "Slumming Angel." Everything is absolutely together here, the distinctive voice belting out a great simple lyric over a hammering rhythm section and a heaping helping of guitar, guitar, guitar. For all that, it starts slow and has a few tracks that sound like filler, albeit tasty filler. Nevertheless, Fresh Evidence showed that even after over 20 years of reinterpreting various strains of blues, there was plenty of spirit and creativity left in the great Irish rocker. ~ Richard Foss, All Music Guide
What The Critics Say
Released five years after his last effort (an eternity for the prolific Irish blues guitar slinger who had been churning out at least an album a year throughout the '70s), Defender is another quality blues-rock offering. Although Gallagher is in fine tough form here and it was his debut release for his own indie label, there is little difference between this and some of his less stellar '70s albums like Top Priority and Photo-Finish. The pounding, guitar-heavy opener "Kickback City" sounds more like hairy rockers Bad Company than anything approaching the deep Chicago and country blues Gallagher dearly loved. The quality picks up substantially as the volume subsides on "Loanshark Blues," but by-the-books crunch-rockers like "Failsafe Day" and the unfortunately titled "Road to Hell" don't bode well for Gallagher moving out from an increasingly formulaic pigeonhole. There are a few corkers here like "Continental Op," a blazing riff that stands with Gallagher's best work and revisits his familiar cloak-and-dagger theme. The swampy, less abrasive "I Ain't No Saint" also pushes the quality up a few notches, as does his gritty version of Sonny Boy Williamson's "Don't Start Me to Talking," the bluesiest song on the disc and one of the few times he pulls out his greasy slide. "Seven Days" is the lone acoustic track and it's a good one, with piano and harp accompaniment and Gallagher singing like he means it as he takes the part of a criminal fleeing from the electric chair. The 2000 reissue adds a pair of rugged bonus tracks (along with a cleaner sound mix), which are actually better, or certainly as good as the best cuts on the rest of this competent but hardly essential Rory Gallagher disc. ~ Hal Horowitz, All Music Guide
What The Critics Say
Rory Gallagher sounds inspired throughout JInx, gamely leading new drummer Brendan O'Neill and keyboardist Bob Andrews through the blues-rock paces, even though the guitarist's personal fortunes were on a downslide from which they would never recover. "Big Guns" and "Bourbon," the album's opening selections find Rory in full fiery form, tossing out muscular guitar lines and fiery solos with descriptive lyrics catering to his infatuation with American gangsters. The album also features two of his best, and least known, songs in the spooky, paranoid title track, complete with simmering sax section, boiling tom-tom drums as well as his own stealthy harmonica, and "Easy Come Easy Go," a beautiful, bluesy ballad where Rory double tracks his acoustic and electric guitars. Gallagher's tough vocals take on a new emotional depth not previously heard, and are particularly poignant throughout. Diving into the blues, Lightnin' Slims' "Nothin' but the Devil," one of the two songs added for this reissue, is an acoustic solo showpiece revealing Gallagher's delta roots and substantial slide abilities. Louisiana Red's "Ride On Red, Ride On" is a crackling double-time burner with Rory charging through with an appropriately whisky-soaked approach and a shimmering electric slide solo. Another extra track, "Lonely Mile," a finished tune previously omitted due to the time restrictions of vinyl, is a worthy addition to Gallagher's mid-tempo grinding rocker catalog. Although not his best album, Jinx is a tough and confident release, and it's 2000 reappearance after being difficult to find for almost 20 years, especially in this pristine edition, is reason to rejoice for Rory Gallagher fans. ~ Hal Horowitz, All Music Guide
What The Critics Say
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. So even though the opening charging riff of "Follow Me"; the slower, urging groove of "Keychain"; and the melodic, relatively subtle hard rock of "Bad Penny" were notable inclusions to the Gallagher catalog and his concerts, the lack of acoustic tunes or less aggressive music gives the album a one-note feel. This isn't helped by the two additional tracks added for the 1999 reissue, both of which stay locked in the same basic hard-edged format. That said, Gallagher and his backing duo are in top form, churning through the songs with remarkably crisp energy. Rory is starting to shout more than sing, but his voice was still powerfully expressive, and when he gets excited on the double-time, cranked up "Just Hit Town" as he overdubs his patented guitar lines, the blues-rocker's guttural screams make it sound like he's on fire. Gallagher also blows some snarling, overdriven harp for the first time in a while on "Off the Handle," one of the album's moodier tracks, and sounds enthusiastic throughout. Except for the lack of diversity, this remains a strong set from the Irishman, and is highly recommended, especially to his less blues-oriented fans. ~ Hal Horowitz, All Music Guide
What The Critics Say
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. Still, the album has a samey feel due to some of the songwriting not being quite up to snuff, and a few tracks, like the moody, slow-burning "Feel to the Fire," stretched well past its breaking point to over six minutes. Of the two additional tunes, "Early Warning" is a typically rugged chunky rocker, and "Juke Box Annie" explores the guitarist's jaunty, slightly funky country style. Neither is essential, but both will be important finds for the Gallagher collector. Brother Donal's liner and track notes are short yet informative, and the sound is an enormous improvement over the original version. There is a remarkable clarity and fullness to the bass, along with a definition that exposes heretofore unheard instruments like the mandolin on "Brute Force..." and hand claps on "Cruise On Out," both previously buried in the mix. Not a great Rory Gallagher album, but a rock-solid one that won't disappoint established fans. ~ Hal Horowitz, All Music Guide
What The Critics Say
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. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes. And it's a crime that the gorgeous "Edged in Blue," certainly one of the artist's saddest and most beautiful pop melodies, was overlooked in his catalog. The 1999 reissue sports track-by-track and first person liner notes from Gallagher's brother Donal, crisp remastered sound, and two additional songs not included on previous versions, one of which, "Public Enemy (B-Girl Version)," later appeared on the Photo-Finish album in an inferior performance to this. Arguably Rory Gallagher's finest studio effort, it was among his best and most varied batch of songs, and it is a perfect place for the curious to start their collection as well as an essential disc showing Gallagher at the peak of his powers. ~ Hal Horowitz, All Music Guide
What The Critics Say
After releasing two albums in 1973 and a live, contract-fulfilling disc in 1974, Gallagher returned rested and recharged in 1975 with a new record label, Chrysalis, and a band with almost three years of hard touring under their belts. With its attention to detai, Against the Grain sounds more practiced and intricate than most of Gallagher's previous studio discs, but still includes some of his most powerful rockers. The supercharged "Souped-Up Ford," where Rory howls and wails, with his voice and smoking slide, and "All Around Man," an urgent blues rocker that begins with Gallagher screaming and crying together with just his electric guitar until the band kicks in with a stop-start blues rhythm, are two of the definitive moments. "Bought and Sold" adds congas to the mix to bring a more rootsy and even jazzy feel to Rory's table. But it's on the acoustic tracks where the guitarist and his band really lay into the groove. Gallagher's version of Leadbelly's "Out On the Western Plain," with its combination of Indian chords, American Delta folk and cowboy "yippee-ki-yay" chorus is one of the Irishman's unheralded highlights, and "Cross Me Off Your List" is affecting in its yearning melody, subtle keyboard and minor key. A playful and forceful romp through Sam and Dave's "I Take What I Want" shows Gallagher's soul roots. Two bonus tracks from the 2000 reissue and recorded at these sessions are country based jams, but neither is particularly impressive. Not his best album, Against the Grain is still prime period Rory Gallagher. Its well-rounded menu of country, Delta blues, and blues-rock is indicative of his approach; though few of these songs became classics in the guitarist's extensive catalog, they're far more mature and eclectic than most blues-rock bands' best work. ~ Hal Horowitz, All Music Guide
What The Critics Say
Gallagher's work ethic was in high gear as he somehow found time to write nine more songs in the midst of non-stop touring for his second album released in 1973. Even more astounding is that far from sounding fatigued or burnt out, his performance here is loose and impassioned, and the tunes are some of the best of his career. Lou Martin's keyboards are better integrated into the band, and drummer Rod de'Ath swings and burns with easy confidence. The double whammy of the album's two crunching leadoff tracks, "Tattoo'd Lady" and "Cradle Rock" illustrate just how comfortable Gallagher is with his backing group, and the smooth-rolling unplugged guitar and harmonica of "20-20 Vision" proves that the blues rocker is a more than adequate Delta/folk musician. Better still is the acoustic slide intro to "Who's that Comin'" that effortlessly and discretely eases its way into a Chicago styled, mid-tempo, electric attack. "A Million Miles Away" pushes the envelope even further with a slow, greasy swamp groove against which Gallagher picks clipped, staccato notes over a well-oiled rhythm section, thick Hammond organ overdubbed with piano from Martin, and even a multi-tracked sax section from the guitarist. The 2000 reissue adds "Tuscon, Arizona" an unusual acoustic waltz-time country Link Wray cover, and a seemingly unrehearsed driving version of the blues standard "Just a Little Bit" that runs almost eight minutes, and is interesting for about half that. Short but informational track-by-track liner notes from Gallagher's brother Donal and crisp remastered sound makes this an essential purchase for established fans and an excellent place to start for new Rory Gallagher listeners. ~ Hal Horowitz, All Music Guide
