Tag Archives: stratocaster

RORY GALLAGHER: ‘Check Shirt Wizard.’

It’s sad to say that very often, when our musical heroes pass on, their legacy is somewhat tarnished by the release of substandard recordings.

This is perhaps understandable where more ‘commercial’ artists are involved, their estates and labels seeking to capitalize on the fans’ grief, and milk every last penny from their ‘investment.’

But commercialism was never the aim of the game for Rory Gallagher, and with brother Donal curating the recordings, you just know that whatever is / has been released posthumously will remain true to the ethos of Rory.

Last year saw the release of double (vinyl) album / triple (cd) ‘Blues,‘ and we fans thought it could never get better – all that time (I have been too lazy to add the track lengths up) devoted to Rory’s specialist genre? Pigs in you know what, we were. (Said Yoda. )

But it just has! Gotten better, that is.

Check Shirt Wizard,‘ reverses the format of the previous release and gives us a triple vinyl / double compact disc, which to my immature mind is a lot more sexy.
That said, I still bought both!

I’m conscious that many of Rory’s ever expanding fanbase were not fortunate enough to have seen him play ‘live.’ But this release is a perfect illustration of what it was like to have been at a show, some forty-three years ago. (Forty-three???!!)

Rory was in his prime. He was backed magnificently by Gerry, Rod and Lou – what I’d consider the strongest line-up he ever played with. A concert those days would last the best part of two hours, in often very basic and sweaty surroundings. No frills; no glitz; no glamour; no posing; no pouting. Just blues infused rock ‘n’ roll as God intended.

This 1977 UK tour, promoting the latest album ‘Calling Card,‘ took in twelve shows in sixteen days, an eleven day break, then another six shows in eight days, with a final date at the Royal Albert Hall no less, a further couple of weeks down the line. Touring certainly was a bit of a slog in those days, but if you wanted your music to heard, this is what you had to do.

But Rory loved it – and this was reflected in his shows: full of energy, but with humility and good humour. These three vinyl records (recorded variously at the Hammersmith Odeon, the Brighton Dome, Sheffield City Hall and Newcastle City Hall) totally encompass this.

Everything about ‘Check Shirt Wizard‘ is spot on. The sound quality is top end – a studio quality recording that fuses the electric atmosphere of a live show. The fold-out sleeve and the photographs are beautiful, as is the eight page, colour insert that takes the form of an outsize concert programme. (Remember them?)

Obviously this particular version is not on ‘Check Shirt Wizard,’ but it is from the same year,

The majority of the twenty tracks are upbeat, boogie and riff-laden, and although recorded over the four different venues, they have been compiled in such a manner as to give the feel of one show. This means that in keeping with his live shows, Rory slips in a few more acoustic blues numbers just after the mid point.

In addition to eight of the nine tracks originally on the ‘Calling Card‘ studio album (only ‘I’ll admit You’re Gone‘ is missing) ‘Check Shirt Wizard’ gives us blinding versions of what became ‘standards’ such as ‘Tattoo’d Lady,’ ‘Going To My Hometown,’ and of course, ‘Bullfrog Blues.’ The latter of these three really did make the hairs on the back of my neck stand up, especially towards the end when over the top of a heavy boogie riff, Rory thanks the crowd for attending and acknowledges the band members in his own inimitable style: “Lou Martin on keyboards! Lou Martin! Yeah!”

Up till now, I have always held ‘Live in Europe‘ as my favourite album – not just of Rory Gallagher, but ‘favourite album’ full stop. This though, could well replace it. It’s an awesome collection that if time permits, should be listened through track by track to get that full on concert experience.

‘Check Shirt Wizard‘: they don’t make them like you anymore.

*****
I always wished to have been at a gig that was recorded for release as an album at a later date. I wasn’t at any of the four shows that are included here, but I was at the Glasgow show that predated the tour, and was sat (until the bouncers turned away) just two rows back from the ticket stub pictured on the inside back cover of the album insert!
*****

RORY GALLAGHER – A Taste for the Blues.

A Taste for the Blues.

Nine vinyl LPs; one vinyl EP; two ‘box set’ CDs; one triple CD set; twenty CDs; five DVDs and four Taste CDs.
You’d be correct in assuming I like Rory Gallagher!

I recall the very first time I heard Rory’s music. I was playing Subbuteo at my pal’s house. I was Chile, that day – red shirt, blue shorts. I can’t remember what team Derek was, but it wouldn’t matter – he’d have whooped my ass anyway. I was rubbish.

Derek shared a large bedroom with his older brother who at that time was a long-haired, senior school student, about four years older than me. He’d been doing paper rounds for several years and so was ‘minted,’ as we’d say in Glasgow. And all his money it seemed, he spent on records, particularly the heavy end of the musical spectrum. Deep Purple and King Crimson I vividly remember being played. I know this because as a Slade, Sweet and John Kongos fan, (yes, John Kongos) I just couldn’t get into this new fangled ‘progressive’ music.

Anyway, as my Chilean right winger was about to take a corner, something new burst out the record player. It went on for ages, too. Wow!

“That’s ‘‘Catfish,’ my mate said. “By a band called Taste. Alan’s just bought it. Like it?”

‘Like it?’ That was me. Hook, line and sinker.

So – this is the Blues? A fourteen year old kid had just been enlightened..

The LP was ‘Taste. Live At The Isle Of Wight.’ With a little more prompting, I was told the band were no longer together, but the guitarist, Rory Gallagher, had embarked on a solo career. In fact, he’d already released three albums.

Always late to the party, me.

A few weeks later, I’d saved enough from my paper round to send away, through a ‘small ad’ in the ‘Sounds’ paper, for a copy of Rory’s latest release, ‘Live in Europe.’ (Going to watch football on a Saturday normally accounted for most of my earnings.)

As it happens, I was fifty pence short in payment for the post and packing, but the nice record store still sent me the LP. They asked I just send a postal order for the shortfall, something I never got round to doing. I read a month or so later that the company had gone bust. I felt ever so guilty.

That was late 1972 and I still have that album. It remains my favourite of all my Rory recordings, although I have to say, the new ‘Blues’ double album pushes it very close.

The next stage in my Gallagher development was to see him play live and that opportunity came in March the following year, when my parents finally acceded my pleas to be allowed to go to a concert. And so shortly after the release of his fourth solo album, ‘Blueprint‘ (my second favourite) I trooped up to Glasgow with a couple of pals to the Green’s Playhouse (later to become the world famous Apollo.)

My seat was about eight rows from the front, just left of centre. Perfect. Until Rory came on stage and everyone jumped to their feet. I was a short-arse then, still am, and suddenly I was struggling to see my musical hero.

But the bouncers at Green’s and even more so when it changed to The Apollo, had a fierce reputation. There was no nonsense. If you were told to sit down, you sat down. If not, you’d only be able to hear the gig from the alleyway at the back of the theatre. (This heavy handed approach always worked … until The Clash came to town on 4th July 1978. But that’s another story!)

The concert was everything I hoped it would be. And more. The relationship Rory had with the crowd was amazing. It was like a personal friend was putting on a show. There was no posturing. No garish showmanship. Just straight-up, blues infused rock ‘n’ roll with a tiny touch of folk influence.

Rory was dressed simply, in his trade-mark check style shirt and jeans, and although he wore a denim shirt on the cover of ‘Blueprint,’I always associated him with the checks. It must be a ‘first impressions’ thing, for I don’t recall seeing him wear that again on any of the other four occasions I was lucky enough to see him.

In the early to mid-seventies, bands would generally only hit your town maybe once a year although I was fortunate in that Rory did return to Glasgow later in ’73, at the end of November. After that though, it was December only, and ’74, ’75 and 1976 were my last shows. It’s interesting to note that the most I paid for a ticket was the £2.50 in 1976.
I wonder how much you’d have to pay these days? I’m sure Rory would have done all in his power to keep prices at a sensible level, but what with ticketing agencies these days …. aargh! Don’t start me!

While my love of Rory Gallagher has been unflinching, I am not one of those fans who listens exclusively to their hero and that particular style of music.

Although I still rushed out to buy his immediate subsequent releases, ‘Photofinish,’ ‘Top Priority,’ and ‘Stage Struck,’ I was, from 1976 onward, more into the punk and second wave rockabilly scenes.

The only groups, however, that even then could come close in my overall ‘favourite band’ list were / still are, The Sensational Alex Harvey Band and The Rolling Stones. (Over forty albums of the latter in my collection.)

And of course, there is a close connection between all three bands with SAHB‘s late great Ted McKenna latterly taking over on drums for Rory, and Rory himself famously auditioning for The Stones back in 1975 when Mick Taylor left.

I must say, I’m so glad Rory decided not to hang around and wait for Mick and Keith to get back to him, and toured Japan as he had planned. I just couldn’t see Rory as anything other than a front man. Ronnie Wood is perfect for the role in appearance and style.

It doesn’t always follow that a group betters itself by absorbing ‘the best.’ Look at The Eagles. Did Joe Walsh really add to what was already one of the most popular bands in the world? Did Joe Walsh lose a bit of his identity by joining The Eagles?

‘No’ and ‘yes’ would be my two answers.

But back to Rory.

It pained me to see him on The Old Grey Whistle Test or wherever as the rather large and bloated musician he’d become by around 1990 as drink and various prescription medications, administered to deal with the rigours of life on the road, had prematurely and noticeably aged him.

In the end, 1995, he perhaps cut a sad image – the archetypal solo rock star, not necessarily fading as such, or clinging to past glories, but perhaps lonely and just sheer exhausted from all he gave.

And he gave so much. The vast majority of his fans, like me, never met him, but Rory came across on stage, and in media interviews, as a very personable and likable bloke. There were no frills. You got what you saw.

He was genius on guitar. He could literally turn his hand to make it gently weep; or laugh; or sing. He could make an audience dance – in an ugly, uncoordinated, shaking-head, rocker style, maybe, but it still counts.

Best guitarist in the world? Many of us would say so.

I guess it’s all a matter of Taste.