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Rory Gallagher
Irish guitarist (1948–1995) From Wikipedia, the free encyclopedia
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William Rory Gallagher (/ɡæləhər/ GAL-ə-hər; 2 March 1948 – 14 June 1995)[1][2][3] was an Irish musician, singer, and songwriter. Regarded as "Ireland's first rock star",[4] he is known for his virtuosic style of guitar playing and live performances. He has sometimes been referred to as "the greatest guitarist you've never heard of".[5][6]
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Gallagher gained international recognition in the late 1960s as the frontman and lead guitarist of the blues rock power trio Taste. Following the band's break-up in 1970, he launched a solo career and was voted Guitarist of the Year by Melody Maker magazine in 1972.[7] Gallagher played over 2,000 concerts worldwide throughout his career, including many in Northern Ireland during the Troubles.[8] He had global record sales exceeding 30 million.[9][10]
During the 1980s, Gallagher continued to tour and record new music, but his popularity declined due to shifting trends in the music industry.[11] His health also began to deteriorate, resulting in a liver transplant in March 1995 at King's College Hospital in London.[12] Following the operation, he contracted a staphylococcal infection (MRSA) and died three months later at the age of 47.[13]
Gallagher has been commemorated posthumously with statues in Ballyshannon and Belfast,[14][15] a memorial sculpture in Cork,[16] and public spaces renamed in his memory in Dublin, Cork, and Paris.[17] He has been commemorated on an An Post set of postage stamps and a Central Bank of Ireland commemorative coin.[18][19] Since 2002, the Rory Gallagher International Tribute Festival has been held annually in Ballyshannon.[20]
A number of musicians in the world of rock and blues cite Gallagher as an influence, both for his musicianship and character, including Brian May (Queen),[21] Johnny Marr (The Smiths),[22] Slash (Guns N' Roses), The Edge (U2), Alex Lifeson (Rush),[23] Glenn Tipton (Judas Priest), Janick Gers (Iron Maiden), (Def Leppard), Joan Armatrading,[24] Gary Moore and Joe Bonamassa.[25]
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Early life
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Gallagher was born on 2 March 1948 to Daniel (Danny) and Monica Gallagher (née Roche) at the Rock Hospital in Ballyshannon in County Donegal, Ireland.[26][27][8][28] He was baptised in the nearby St Joseph's Church.[29]
His father, Danny, was originally from Derry and served for a time in the Irish Army. Danny was also an accordionist and led his own céilí dance orchestra.[28] He met Gallagher’s mother, Monica – a native of County Cork – in the 1940s while stationed in Cork city, and they later married.[12]
The couple moved to Ballyshannon when Danny was demobilised and took up employment with the Irish Electricity Supply Board (ESB), which was constructing the Cathaleen's Fall hydroelectric power station on the River Erne.[30]
In 1949, the family moved to Derry City.[29] It was here that Gallagher's younger brother Dónal was born later that year.[27][31] Dónal would go on to manage Gallagher throughout most of his career.[32][33] While in Derry, Gallagher attended the Christian Brothers Primary School, known locally as the Brow of the Hill.[29]
Over the next seven years, due to a lack of steady work, the family moved frequently, spending time in Coventry and Birmingham in England, as well as moving back and forth between Cork and Derry.[34] This instability put a strain on Danny and Monica’s marriage, and in 1956, Monica moved back to Cork permanently with her two sons.[35] They lived with Gallagher's maternal grandparents in an apartment above the Modern Bar (later renamed Roche's Bar) at 27 MacCurtain Street.[35] Gallagher attended the North Monastery School and, later, St Kieran's College.[31][36]
Gallagher developed a love for music at a young age through the radio, listening to broadcasts from Radio Luxembourg, the BBC and the American Forces Network.[37] His first musical inspiration was Roy Rogers, "the Singing Cowboy", followed by Lonnie Donegan, whose covers of American blues and folk artists introduced Gallagher to the genre.[38] He later discovered rock and roll, particularly Buddy Holly, Eddie Cochran, and Chuck Berry, before finding his greatest influence in Muddy Waters.[37] Other musicians he cited as influences include Woody Guthrie, Big Bill Broonzy, and Lead Belly.
At age nine, Gallagher received a plastic Elvis Presley model ukelele for Christmas,[31] on which he taught himself basic chords.[39] Recognising his aptitude, Gallagher’s mother later bought him an acoustic guitar. Gallagher would study music books in his local library, such as Lonnie Donegan’s Skiffle Hits, and copy the hand shapes of musicians from photographs in Melody Maker.[37]
Having acquired a repertoire of songs, Gallagher began performing at minor functions around Cork, often accompanied by his brother. In 1961, he won a cash prize as a solo performer in a talent contest at Cork City Hall, and his photo was featured in the Evening Echo.[35]
As Gallagher began performing more frequently, he sought to emulate the electric sound of beat groups. To achieve this, he persuaded his mother to buy him a black Rosetti Solid Seven electric guitar.[40]
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The showband years
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1963–1965 The Fontana Showband
Gallagher was eager to form a band but struggled to find anyone in Cork who shared his interest. In the summer of 1963, while searching through local newspapers, he came across an advertisement from brothers Oliver and Bernie Tobin, who were looking for a lead guitarist to join their newly-formed band, the Fontana Showband.[41]
The six-piece ensemble, which played the popular hits of the day,[42] featured Bernie Tobin on trombone, Oliver Tobin on bass, John Lehane on saxophone, Eamonn O'Sullivan on drums, and Jimmy Flynn on guitar. Gallagher impressed the band with his audition and lied about his age to secure the position. In the following weeks, Flynn left the band by mutual consent and Declan O’Keefe joined as rhythm guitarist.[29]
Shortly after joining the Fontana Showband, Gallagher purchased a 1961 Fender Stratocaster for £100 from Crowley's Music Shop.[43] This guitar became his primary instrument and was most associated with him during his career.[44]
The band performed in ballrooms and dancehalls across Ireland almost every evening, often for 5-6 hours at a time.[45] This allowed Gallagher to earn the money for the payments that were due on his Stratocaster guitar. During Lent, when dances were "banned" by the Catholic Church in Ireland, they toured Great Britain.[46]
Despite not playing the music he truly wanted, Gallagher saw the Fontana Showband as a valuable training ground.[45] Recognising the shifting musical landscape of the time, he gradually began to influence the band's repertoire, steering it away from mainstream pop music and incorporating some of Chuck Berry's songs. By 1965, he had successfully moulded Fontana into "The Impact", now with Michael Lehane on keyboards and Johnny Campbell on drums, replacing O’Sullivan.[41]
1965–1966 The Impact
On 22 April 1965, The Impact made an appearance on Irish television show Pickin’ the Pops, where they were scheduled to perform Buddy Holly’s 'Valley of Tears’. However, at the last minute, Gallagher switched the song to Larry Williams’ ‘Slow Down’ instead, an act that caused a sensation.[46]
As Gallagher’s guitar skills gained recognition, the band began performing at larger venues, including the Arcadia Ballroom, which was run by Peter Prendergast.[47] Prendergast’s brother, Phillip, decided to take on management of the band, securing them support slots for major acts like The Animals.[48] Around this time, Gallagher was also invited by the showband The Victors to play as a session guitarist on their recording ‘Call Up the Showbands’.[49]
In June 1965, the band travelled to Spain for a residency at an American Air Force base outside Madrid, in Alcalá de Henares.[41] With Spain under dictatorship at this time, Gallagher was required to cut his hair before entering the country.[50] After their time in Spain, the band recorded their first demo tape, which featured a cover of ‘Slow Down’ with ‘Valley of Tears’ as the B-side.[49]
By early summer 1966, The Impact had dissolved.[51] Gallagher, along with bassist Oliver Tobin and drummer Johnny Campbell, formed a trio and started a three-week stint at the Big Apple in Hamburg, Germany.[52][53] They were billed as ‘The Fendermen’.[41]
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Taste
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1966–1968 Taste Mark 1
Upon returning to Ireland, Gallagher jammed with local Cork band, The Axills, which featured bassist Eric Kitteringham and drummer Norman Damery, and was offered the position of guitarist.[48] However, having completed a musical apprenticeship in the showbands and influenced by the increasing popularity of beat groups, he decided it was time to form his own band instead and asked Kitteringham and Damery to join him.
Together, they formed The Taste, which was later renamed simply Taste, a blues rock and R&B power trio.[54] The band was formed inside the Long Valley Bar, with the name Taste inspired by a beermat boasting the superior taste of Beamish stout.[46]
Taste began rehearsing on the upper floor of 5 Park View, where the Kitteringham family lived, and made their debut on 10 September 1966 at a school dance held at the Imperial Hotel on Grand Parade in Cork.[29] While Taste performed many covers, they also began developing original material, including an early version of 'Blister on the Moon'.[55]
Looking to expand their reach to Belfast's blues scene, Taste performed at the city's Sammy Houston's Jazz Club on Great Victoria Street in December 1966.[56] Their performance caught the attention of promoter Eddie Kennedy, who offered them a residency at the city's Maritime Hotel and a management deal.[12]
Gallagher persuaded Kitteringham and Damery, who were working as a printer and an insurance broker at the time, to go fully professional, and they agreed. Several months later, Damery’s work replacement died in the Aer Lingus 712 flight disaster, leading Damery to tell Gallagher, “Whatever turns out for me professionally now is a bonus. You saved my life.”[57]
During their residency at the Maritime Hotel, Taste opened for acts like Cream, Fleetwood Mac and Chris Farlowe & The Thunderbirds, drawing audiences from both Protestant and Catholic communities.[56]
In 1967, the Major-Minor record label, run by Phil Solomon, showed interest in signing Taste and gave them the opportunity to make a demo recording. ‘Blister on the Moon’ (with B-Side ‘Born on the Wrong Side of Time’) was subsequently released as a single without Gallagher's consent.[55]
Kennedy's connections with Robert Stigwood, the manager of Cream and the Bee Gees, helped secure gigs for Taste at London’s Marquee Club. At their first gig, supporting Robert Hirst and the Big Taste in February 1968, they were billed as ‘The Erection’ to avoid a name clash.[58] The band’s raw sound made an immediate impression on critics and spectators, leading to a residency offer and a permanent move to London in the summer of 1968.[59]
Polydor began showing interest in signing Taste, but Kennedy claimed the label was unhappy with the current rhythm section.[59] Despite initial resistance from Gallagher, Kitteringham and Damery were replaced by bassist Richard McCracken and drummer John Wilson, both experienced musicians from Belfast who played in the band Cheese, also managed by Kennedy.[54] The change was made amicably, with everyone understanding it was a necessary step for the band’s progression.[60]
1968–1970 Taste Mark 2
In August 1968, the new line-up of Taste signed with Polydor and relocated to Earl’s Court. While living there, Gallagher bought a saxophone and taught himself how to play, practicing in the cupboard of his bedsit to avoid disturbing the other residents.[59]
Earl's Court was home to a number of other bands, including Brian May's Smile. After a performance at the Marquee Club, May went backstage and asked Gallagher, "How do you get your sound?".[61] The sound to which May referred consisted of a Dallas Rangemaster Treble Booster in combination with a Vox AC30 amplifier.[21]
Three months later, at Eric Clapton's request, Taste supported Cream at their farewell concerts at the Royal Albert Hall. After Cream disbanded, the band’s manager Robert Stigwood approached Gallagher with a proposal to join Jack Bruce and Ginger Baker in a new version of the band. Gallagher, however, refused the offer outright.[62]
In early 1969, Taste recorded their eponymous debut album Taste in a single day at De Lane Lea Studios in London. The album was produced by Tony Colton, who had previously produced albums for Yes. Released in April, it included rearranged blues standards like ‘Leavin’ Blues’, ‘Sugar Mama’ and ‘Catfish’, a cover of Hank Snow’s ‘I’m Movin’ On, and Gallagher’s own song ‘Blister on the Moon’, among others. The album was praised by critics for its "raw and honest" sound, selling particularly well in Northern Europe.[29]
In July 1969, Clapton invited Taste to support his new supergroup, Blind Faith, on their US tour. Despite Taste’s positive audience reception, the tour was fraught with issues. These included Taste being denied soundcheck time and a proper PA system, playing daytime gigs in large arenas, and tensions with Kennedy over travelling on the musicians’ bus and not allowing the band to stay on in the US to play smaller club gigs.[63] During the tour, Gallagher saw Muddy Waters play for the first time at Ungano’s in New York.[63]
Once back in London, Polydor requested that Taste begin recording their second album. This time, they were given almost a week to complete the project, which resulted in On the Boards. All ten tracks were composed by Gallagher and showcased his progressive blues style, mixing blues rock with acoustic ballads and experimental jazz-blues fusion. The album was released on January 1970 and reached no. 18 on the UK Albums Chart.[64] Without Gallagher’s permission, Polydor issued the opening track ‘What’s Going On’ as a single in Germany, where it became a Top 5 hit.
Throughout 1970, Taste continued to build their reputation as a live band, breaking the Marquee Club’s all-time box office record on 21 July, previously held by Jimi Hendrix.[65] John Lennon, who attended one of their performances, told a New Musical Express writer, “I heard Taste for the first time the other day and that bloke is going places.”[59]
However, behind the scenes, tensions were escalating due to creative differences and management issues. Gallagher and his brother Dónal were aware that Kennedy was misappropriating funds, but Wilson and McCracken sided with the manager, creating a rift within the group. The situation worsened when Taste’s van was broken into the night before the Isle of Wight Festival, and Wilson accused Gallagher of orchestrating the break-in because only his drum pedals were stolen.[29]
Despite these tensions, Taste delivered a strong performance at the Isle of Wight Festival before a crowd of 600,000 people, returning for multiple encores.[59] Their performance was recorded in full by Murray Lerner and later released as the concert film Live at the Isle of Wight (2015).
Gallagher had intended to disband Taste after the Isle of Wight Festival, feeling that the band had "just came to the end of our natural life".[66] However, with Polydor having already scheduled several festival dates and a major European tour, contractual obligations required them to continue. Just three days later, the band performed at the Montreux Jazz Festival, marking the beginning of Gallagher’s long relationship with the festival.
Taste's final concert took place at Queen’s University in Belfast on 24 October 1970.[67] Following the breakup, Gallagher would never perform a released Taste song on stage again.[11] McCracken and Wilson would go on to form the rock band Stud.
Despite describing the break-up of Taste as a "traumatic" and "very dreadful time", particularly because "the press all attacked me as if I was some kind of dictator", Gallagher always refused to publicly speak ill of the other band members.[69] He would later reflect on the break-up with regret, describing it as a "communications breakdown" that "shouldn't have been allowed to happen".[45]
Gallagher's brother Dónal, who took on the role of his manager, insisted they bring his previous manager, Eddie Kennedy, to court to recoup royalty payments, but Kennedy capitulated before the case reached trial.[29] He agreed to transfer the Taste royalties, though he claimed to have no money. This meant that Gallagher never received any of the funds generated from Taste’s album sales. The episode made Gallagher reluctant to seek out 'big' management deals in future.[70]
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Solo career
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1971–1972 Rory Gallagher Band Mark 1
After the break-up of Taste, Gallagher decided to pursue a solo career and enlisted his brother Dónal as manager. In June 1971, they formed Strange Music to handle the production rights to Gallagher’s songs.[71] Led Zeppelin's manager, Peter Grant was involved in negotiating Gallagher a solo deal with Polydor, which secured him a contract for six albums on more generous terms than previously with Taste.[72]
With a record contract secured with Polydor, Gallagher began assembling a new band. He reached out to Belfast musicians Gerry McAvoy (bass) and Wilgar Campbell (drums), who had previously been part of Deep Joy – a band that had supported Taste in 1970.[73]
Gallagher arranged an audition at Fulham Palace Practising Studios in London and, according to McAvoy, "it gelled from the word go".[74] Gallagher also considered former Jimi Hendrix Experience members Mitch Mitchell and Noel Redding, before moving forward with McAvoy and Campbell.[55] They made their debut at the Paris Olympia on 30 March 1971.[56] Other performances in 1971 included the Weeley Festival, Reading Festival and the Crystal Palace Bowl Garden Party, where they performed alongside Elton John, Yes and Fairport Convention.
Gallagher borrowed money from his mother to make his first solo album Rory Gallagher, which was released in May 1971.[75] The album was recorded at Advision Studios in Fitzrovia, London and self-produced, with sound engineering by Eddy Offord who had previously worked with Gallagher on On the Boards. The album displays Gallagher's folk and jazz influences, with several of its songs carrying a melancholic tone that reflects the emotional impact of the break-up of Taste, such as 'For the Last Time' and 'I Fall Apart'.[76] The album also features keyboard contributions from Vincent Crane, known for his work with Atomic Rooster. Most of the album was recorded without overdubbing: according to Gallagher, it was "the only way to record this sort of music […] just go in and try and get it all first take".[77] The album was reviewed favourably by Melody Maker, which stated: "Gallagher has all the makings to be an absolute monster, and his first album since the break-up of Taste is another pointer in that direction".[78]
Six months later, Gallagher released Deuce, recorded at Tangerine Studios in Dalston, London and again self-produced. Tangerine's staff engineer, Robin Sylvester, described the album as "Rory's 'live self' documented on tape", with all vocals and guitar solos performed live and minimal overdubs.[79] Gallagher told Sounds that he was "happy" with Deuce and felt the mix was "well-balanced", but said that "there's only so much you can get out of a studio".[80] NME saw the album as giving Gallagher’s reputation "a further stride forward" with its "contrastingly different sides of the band's music in rock and roll, blues and a country and western tinged style".[81] Although the album was not a major commercial success at the time of its release, it subsequently gained cult status among fans, with guitarist Johnny Marr calling it "a complete turning point" for him and American comedian Bill Hicks claiming to have worn out several copies.[82]
In December 1971, Gallagher was invited by Muddy Waters to participate in The London Muddy Waters Sessions, playing on three tracks: 'Young Fashion Ways', 'Who's Gonna Be Your Sweet Man When I'm Gone' and 'Key to the Highway'. At the time, Gallagher was on a UK tour and went directly from his concerts to late-night recording sessions.[83] Reflecting later on the experience, he described it as a "special memory", recalling how Waters was "so kind" and had a "spectacular" attitude.[84] The album went on to win a 1972 Grammy Award. Additional tracks from the sessions were released two years later as London Revisited, with Gallagher featuring on three: 'Hard Days', 'I Almost Lost My Mind' and 'Lovin' Man'. During this period, Gallagher also made guest appearances on Mike Vernon’s Bring It Back Home and Chris Barber’s Drat that Fratle Rat!
In 1972, Gallagher was voted "guitarist of the year" in a Melody Maker readers' poll.[60] He received an award in the shape of five gold sunbeams, a design later replicated on his headstone at St Oliver's Cemetery in Cork. That year, Gallagher also embarked on his first US solo tour, which included a five-night residency at the Whisky-A-Go-Go in Los Angeles with Little Feat.[56]
According to Gallagher, he "felt very alive at the time in the sense of concerts" and wanted to capture that energy on record, so he decided to record his first live album.[85] The result was Live! in Europe, which was released in May 1972 and featured performances from Luton Technical College, Teatro Lirico in Milan, Space Electronic Club in Florence and Scala Cinema in Ludwigsburg, Germany. The album entered the top ten of the UK album charts and reached number 101 on the Billboard 200 for 1972.[55] This marked Gallagher's highest-charting album at the time and earnt him his first Gold Disc. Disc and Music Echo described the album as "Rory at his rocking best […] as he holds the stage majestically".[86]
As Gallagher’s touring schedule increased, drummer Wilgar Campbell developed a fear of flying. Unable to travel to a concert at the Savoy Theatre in Limerick on 11 May 1972, recorded for Music Makers—RTÉ’s first colour programme—Rod de’Ath of Killing Floor was called in last-minute to replace him.[87] A month later, Campbell again refused to travel for a concert in Lausanne, leading to another replacement by de'Ath. In June 1972, Campbell left the band by mutual consent.
1972–1978 Rory Gallagher Band Mark 2
Following Campbell’s departure, Rod de'Ath officially took on the role of drummer. Eager to expand the band's sound, Gallagher decided to add a keyboard player and, on De'Ath's recommendation, brought in Lou Martin, who had previously played with him in Killing Floor. The new line-up made their debut on 1 July 1972 in Bellinzona, Switzerland.[56]
In 1973, Gallagher released two studio albums: Blueprint (February) and Tattoo (November), both recorded at Polydor Studios in London, with additional tracks for Blueprint captured at Marquee Studios. Upon release, Blueprint received mixed reviews, with critics acknowledging the potential of Gallagher's new rhythm section but feeling the album reflected a band still in the process of defining their sound. As Melody Maker wrote, "It's not going to change the course of the world, but it'll give you a selection of everything he's so rightly famous for. I'll say it's his most interesting yet".[88] Gallagher himself stated that Blueprint was "more varied and has a very distinct sound", but felt that the "guarded reviews" suggesting he was "on the verge of something new" were "fair".[89][90]
Tattoo, in contrast, was widely praised as representing an expansion of Gallagher's musical palette while retaining his signature sound, enhanced by Martin's keyboard work. According to Guitar Player, "each of the record's nine selections are good, but Rory's guitar licks hold surprises and turn out always to be the high points".[91] Gallagher expressed pride in Tattoo, describing it as "the most vibrant of the albums" with "a mixture of forms".[92] Several tracks, including 'Tattoo'd Lady' and 'A Million Miles Away', went on to become live staples.
In the same year, Gallagher also played on Jerry Lee Lewis's The Session...Recorded in London with Great Artists alongside Albert Lee, Alvin Lee and Peter Frampton. He contributed to four tracks: 'Music to the Man', 'Jukebox', 'Johnny B. Goode' and 'Whole Lot of Shakin' Goin' On'.
Gallagher and his band regularly performed on TV and radio shows across Europe, including Beat-Club in Bremen, Germany and the BBC's Old Grey Whistle Test.[74] He was one of the most recorded musician of the 1970s by the BBC, appearing on Sounds of the Seventies, Sight and Sound In Concert and multiple Peel Sessions.[93]
Gallagher toured across North America, Japan and Europe in 1973, before returning to Ireland for his annual Christmas tour, a tradition he continued throughout the 1970s. The Irish tour coincided with one of the most heightened periods of political unrest in Northern Ireland. Despite the escalating conflict, Gallagher was determined to perform in Belfast – one of the few artists to do so at the time.[94] This approach won him the dedication of thousands of fans and, in the process, he became a role model for other aspiring young Irish musicians.[95][96] This was posthumously recognised with the unveiling of a statue outside the city's Ulster Hall in January 2025.[97]
Gallagher's concerts at Belfast Ulster Hall, Dublin Carlton Cinema and Cork City Hall were recorded using Ronnie Lane's Mobile Studio and released in July 1974 as the double album Irish Tour ’74. It achieved gold status in the UK and sold over two million copies worldwide.[98] The tour was also captured for a 90-minute music documentary, Irish Tour ’74, directed by Tony Palmer, which was broadcast on the BBC television series Arena. The film premiered in Cork at the Capitol Cinema on 10 June 1974 and was selected as an official entry for the Cork Film Festival.[99]
In January 1975, Gallagher was invited to Rotterdam by Ian Stewart of the Rolling Stones, who were auditioning new guitarists to replace Mick Taylor. He accepted the invitation "just to see what was going on" and jammed with the band for three days.[100] Scheduled to begin a Japanese tour, he left a note with his contact details but did not hear from them again. According to Bill Wyman, Gallagher "played some nice stuff", but Mick Jagger and Keith Richards felt he "wasn't the kind of character that would fit" into the Rolling Stones as he would have to be "subservient to two big egos" and would primarily play solos rather than sing or take a leading role.[101]
In July 1975, Gallagher made his first solo appearance at the Montreux Jazz Festival, where he jammed with Albert King. Although he enjoyed the opportunity to perform with King, Gallagher felt that King was "a little less friendly and a lot more difficult [than Muddy Waters]" and "threw [him] in at the deep end" to stand in for his other guitar player without specifying the running order or keys.[102] The jam session was later released on King’s Live album.
In October 1975, Against the Grain, Gallagher’s first album on the Chrysalis label, was released. After considering several offers, he chose Chrysalis because he believed they would provide the "close personal attention" he had previously lacked.[103] The album was recorded at Wessex in Highbury, London and was described by Melody Maker as marking the "beginning of a new era" for Gallagher who had found "a successful recording formula".[104] It featured a cover of Lead Belly's 'Out on the Western Plain' and a reworked version of Bo Carter's 'All Around Man'. At the time, Gallagher described Against the Grain as "the best studio album" to date, as he felt he had finally "made the live thing work" by capturing in the studio what he did on stage.[105]
Calling Card followed one year later, recorded in just four weeks at Musicland Studios in Munich and produced by Deep Purple's Roger Glover. Building on the progression of Against the Grain, the album incorporates elements of blues, rock, funk, jazz, folk and rockabilly. According to Dónal Gallagher, tensions arose between his brother and Glover because "he couldn't live with somebody else's production" and remixed the album multiple times.[106] While Gallagher felt Calling Card had "a good sound" and "good level feeling", he said that it lacked "excitement".[107] Critics, however, praised Calling Card's greater diversity of mood, Gallagher's songwriting, and Glover's ability to "[bring] out a crispness in the band’s playing".[108]
In September 1976, Gallagher undertook a short tour of Poland, invited by the Polish Jazz Society. Despite Poland being under Communist rule at the time, his concerts were officially sanctioned by the Polish government.[11] The concerts attracted many East German fans who risked crossing the border to attend.[109] The event was so significant at the time that it received international press attention.
One month later, Gallagher began his long-standing relationship with the German television concert series Rockpalast, performing both acoustic and electric sets in front of a small audience at Cologne’s WDR studios.[56] He returned in July 1977, sharing the bill with Little Feat and the Byrds' Roger McGuinn in what would become the first European-wide broadcast simultaneously on television and radio.[11] Gallagher's performance had an audience of 28 million viewers across Europe.[110] The day before, he had played the Montreux Jazz Festival and travelled directly to Germany for Rockpalast without getting any sleep.[111]
On 26 June 1977, Gallagher headlined the Macroom 'Mountain Dew' Festival, Ireland's first open-air festival, performing before a crowd of 20,000 people.[112] The performance was described by the Irish music magazine Hot Press as "a festival victory, a celebration, two and a half hours of undiluted energy".[113] Hot Press had been launched the month before, with Gallagher appearing on the cover of the inaugural issue. He and his brother Dónal contributed financial support to the magazine's founding.[11]
In October 1977, Irish violinist Joe O'Donnell released the concept album Gaodhal's Vision, with Gallagher contributing guitar to 'Poets and Storytellers' and 'Lament for Coire Sainnte'.
After completing a third tour of Japan in November 1977, Gallagher and his band flew directly to the US to begin working on a new album with producer Elliot Mazer at His Master's Wheels in San Francisco. Gallagher was already acquainted with Mazer, having first met during Taste's 1970 European tour.[114] He also admired Mazer's previous production work on albums such as Neil Young's Harvest, Area Code 615's Trip in the Country and The Rock by fellow Chrysalis artist Frankie Miller.[115]
According to Gallagher's bassist Gerry McAvoy, the sessions at His Master's Wheels "dragged on for what seemed like an eternity" as Gallagher was dissatisfied with the studio and its equipment.[116] This led to the record's company advance being exceeded, placing a significant financial burden on Gallagher. Tensions within the band were also growing, particularly with drummer Rod De'Ath, who sought more input on the band's direction.[117]
Upon returning home to Cork for Christmas, Gallagher spoke with his brother Dónal and his mother Monica about feeling overwhelmed by the demands of the band and his concerns over the increased costs and financial borrowings associated with the album.[115] However, he returned to San Francisco in the new year, hoping to remix the tracks. After attending the Sex Pistols' final gig on 14 January 1978 at the Winterland Theatre, Gallagher became further convinced that a shift in the band's dynamic and musical direction was necessary.[118]
Ultimately, Gallagher decided to scrap the album on the day it was due to be delivered to Chrysalis. "I didn’t feel convinced when it was finished […] It was something that remixing wouldn't cure. It was a pretty drastic measure, I suppose, but sometimes it's worth it […] It's got to be a record that I can play sometimes myself and enjoy", he explained to Hit Parader.[119] It was after this that Gallagher decided to part ways with Rod de'Ath and Lou Martin, with their final performance taking place at the Hammersmith Odeon on 29 April 1978.[56]
Gallagher later told Good Times that "maybe 80% of the San Francisco album could come out in some form remixed".[120] In 2011, the scrapped album was remixed by Gallager's nephew, Daniel, and released as Notes from San Francisco.
After De'Ath and Martin left the band, Gallagher decided to return to a trio format and recruited drummer Ted McKenna from the Sensational Alex Harvey Band.[121] They released two albums together: Photo-Finish and Top Priority.[73]
In the 1980s, now with drummer Brendan O'Neill, he continued recording, producing Jinx, Defender, and Fresh Evidence. After Fresh Evidence, he embarked on a tour of the United States. In addition, he played with Box of Frogs, a band formed in 1983 by former members of The Yardbirds. Becoming obsessive over details and plagued by self-doubt, Gallagher nevertheless retained a loyal fanbase. During this period he stated "I agonize too much".[54]
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Band line-up
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In addition to Gallagher himself (on guitar and vocals), over the years Gallagher's band included:
- 1971–1972: Gerry McAvoy (bass) and Wilgar Campbell (drums)[122]
- 1972–1978: Gerry McAvoy (bass), Rod de'Ath (drums) and Lou Martin (keyboards)[122][29][123]
- 1978–1981: Gerry McAvoy (bass) and Ted McKenna (drums)[60]
- 1981–1991: Gerry McAvoy (bass), Brendan O'Neill (drums) and frequent guest Mark Feltham (harmonica)[60]
- 1992–1994: David Levy (bass), Richard Newman (drums), John Cooke (keyboards) and frequent guest Mark Feltham (harmonica).[124]
A number of guest musicians also recorded and played with Gallagher and his band, including:[124]
- 1981, 1986–1987: Bob Andrews, keyboards (Jinx, Defender)
- 1981–1982: Dick Parry, tenor saxophone (live performances, Jinx)
- 1981–1982, 1989–1990: Ray Beavis, tenor saxophone (live performances, Jinx, Fresh Evidence)
- 1982: Howie Casey, tenor saxophone (live performances)
- 1989–1990: Geraint Watkins, piano and accordion (Fresh Evidence, live performances)
- 1990: John 'Irish' Earle, tenor saxophone and baritone saxophone (Fresh Evidence)
- 1990: Dick Hanson, trumpet (Fresh Evidence)
- 1992–1994: Jim Leverton, keyboards and bass (live performances)
- 1994: Frank Mead, harmonica and saxophone (live performances)
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Guitars and equipment
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1961 Fender Stratocaster
The main instrument that Gallagher played throughout his career was a sunburst 1961 Fender Stratocaster (Serial Number 64351).[29] It was reputedly the first in Ireland,[125] and originally owned by Jim Conlon, lead guitarist in the Irish band Royal Showband.[126][127] Gallagher bought it second-hand from Crowley's Music Shop of Cork's MacCurtain Street in August 1963 for £100.[128][129] Speaking about Gallagher's purchase, his brother Dónal recalled: "His dream ambition was to have a guitar like Buddy Holly. This Stratocaster was in the store as a used instrument, it was 100 pounds. In today's money you couldn't even compare; you might as well say it was a million pounds. My mother was saying we'll be in debt for the rest of our lives and Rory said, 'Well, actually with a guitar like this I can play both parts, rhythm and lead, we won't need a rhythm player so I can earn more money and pay it off.' So the Stratocaster became his partner for life if you like."[130]
In 1967, while in Dublin to visit Pat Egan at the Five Club, Gallagher's Stratocaster was stolen, along with a Telecaster he had borrowed from a friend. Gallagher contacted the producers of a television programme called Garda Patrol, who featured the stolen guitars in one of their segments. A few days later, the Stratocaster was discovered abandoned in a ditch behind a garden wall on the South Circular Road and was returned to him.[43]
Virtually all of the finish on Gallagher's Stratocaster was stripped away over time, and, while he took care to keep the guitar in playable condition, Gallagher never had it restored, stating "the less paint or varnish on a guitar, acoustic or electric, the better. The wood breathes more. But it’s all psychological. I just like the sound of it".[131] Gallagher's brother Dónal has also stated that, owing to his rare blood type,[132] Gallagher's sweat was unusually acidic, acting to prematurely age the instrument's paintwork.[131]
The guitar was extensively modified by Gallagher. The tuning pegs and the nut were replaced,[133] the latter changed a number of times. The pickguard was also changed during Gallagher's time with Taste. Only the middle pick-up is original. The final modification was the wiring – Gallagher disconnected the bottom tone pot and rewired it so he had just a master tone control along with the master volume control. He installed a five-way selector switch in place of the vintage three-way type.[133]
Speaking of the Stratocaster in a 1993 interview, Gallagher said, "This is the best, it's my life, this is my best friend. It's almost like knowing its weak spots are strong spots. I don't like to get sentimental about these things, but when you spend 30 years of your life with the same instrument, it's like a walking memory bank of your life there in your arms."[134]
In late October 2011, Dónal Gallagher brought the guitar out of retirement to allow Joe Bonamassa to perform with it on his two nights at the Hammersmith Apollo in London. Bonamassa opened both night's performances with his rendition of "Cradle Rock" using Gallagher's Stratocaster.[135]
In July 2024, Dónal Gallagher announced that he would be auctioning the Stratocaster through Bonhams.[136][137] The guitar was sold later in 2024 for £700,000. The buyer, the concert promoter Denis Desmond, made the purchase following discussions with the Irish Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media, with the intention of donating the guitar to the National Museum of Ireland (NMI).[138] On 5 February 2025, it was announced that the Stratocaster would be put on display by the NMI from September 2025.[139]
Other equipment
Known for his Stratocaster, Gallagher also used a number of other guitars, including acoustic examples, during his career.[140][141] In April 2014 one of the last guitars owned by Gallagher, a custom-built Patrick Eggle 'JS Berlin Legend', was sold at auction in England for £25,000.[142][143]
Gallagher used a number of models of amplifiers during his career, generally preferring smaller 'combo' amplifiers to more powerful Marshall stacks popular with rock and hard rock guitarists. To make up for the relative lack of power on stage, he would link several different combo amps together.[144]
When Gallagher was with Taste, he used a single Vox AC30 with a Dallas Rangemaster treble booster plugged into the 'normal' input.[citation needed] Gallagher also used an Ibanez Tube Screamer,[145] and several Boss effects, including a flanger.[146]
In the 1970s, Gallagher began to use Fender amplifiers with a Hawk booster.[144][145] Later in the 1970s, when Gallagher was moving towards a hard rock sound, he experimented with Ampeg VT40 and VT22 amplifiers, and also used Marshall combos.[146][145]
Gallagher was an early adopter of Boss ME-5 all-in-one floor-based effects units, and used such a unit for his live work until his death.[citation needed] He also used Stramp 2100a amplifiers, which can be seen in his appearances on the German Beat Club programme. Another company that built amplifiers for Gallagher was PCL Vintage Amp.[147]
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Death
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In the later years of his life, Gallagher developed a phobia of flying. To overcome this, he was prescribed various drugs. Gallagher also had a series of health problems for which he was prescribed steroids (e.g., thyroid disorder, psoriasis, asthma).[12] By the time of his final performance on 10 January 1995 in the Netherlands, he was visibly ill with severe abdominal pain and the tour had to be cancelled.
Gallagher was admitted to London's King's College Hospital in March 1995, and it was only then that the extent of his ill health became apparent; his liver was failing and the doctors determined that, in spite of his relatively young age, a liver transplant was the only possible course of action.[148] After thirteen weeks in intensive care, while waiting to be transferred to a convalescent home, his health suddenly worsened when he contracted a staphylococcal (MRSA) infection, and he died on 14 June 1995, at the age of 47.[73] He was unmarried and had no children.
Gallagher was buried in St Oliver's Cemetery in Ballincollig, near Cork City, in Ireland. The grave's headstone is in the image of an award he received in 1972 for International Guitarist of the Year.[149]
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Legacy
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In 2003, Wheels Within Wheels, a collection of acoustic tracks, was released posthumously by Gallagher's brother Dónal. Collaborators on this album included Bert Jansch, Martin Carthy, The Dubliners, Spanish flamenco guitarist Juan Martin and Lonnie Donegan.
Many modern-day musicians, including The Edge from U2,[150] Slash of Guns N' Roses,[151] Johnny Marr of the Smiths,[152] Davy Knowles,[153] Janick Gers of Iron Maiden,[154] Alex Lifeson of Rush,[23][better source needed] James Dean Bradfield of Manic Street Preachers,[155] Glenn Tipton of Judas Priest,[156] Vivian Campbell of Def Leppard,[157] Gary Moore,[158] and Joe Bonamassa,[44][159] cite Gallagher as an inspiration in their formative musical years.
Brian May, lead guitarist of Queen, relates: "So these couple of kids come up, who's me and my mate, and say 'How do you get your sound Mr Gallagher?' and he sits and tells us. So I owe Rory Gallagher my sound."[61] The sound to which May refers consists of a Dallas Rangemaster Treble Booster in combination with a Vox AC30 amplifier.[21] In 2010, Gallagher was ranked No. 42 on Gibson.com's List of their Top 50 Guitarists of All Time.[160] Gallagher was also listed in Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time, at 57th place.[161] In April 2014, at the time of the auction of Gallagher's Patrick Eggle "JS Berlin Legend" guitar, the BBC noted: "Eric Clapton credited him with 'getting me back into the blues'".[142]
Tributes
- On 25 October 1997, a tribute sculpture to Gallagher was unveiled in the newly renamed Rory Gallagher Place (formerly St. Paul's Street Square) in his hometown of Cork. The sculptor, Geraldine Creedon, was a childhood friend of Gallagher.[162]
- Rory Gallagher Corner, at Meeting House Square in Dublin's Temple Bar, is marked with a full-size bronze representation of his Stratocaster. The unveiling was attended by The Edge of U2 and the Lord Mayor of Dublin, among others.
- In 2004, the Rory Gallagher Music Library was opened in Cork.[163]
- In 2006, a plaque was unveiled at the Ulster Hall in Belfast.[164][165]
- A street in Ris-Orangis, a commune in the southern suburbs of Paris, was renamed Rue Rory Gallagher.[166]
- New York City-based Celtic rock band Black 47 paid tribute to Rory Gallagher on their 1996 release, "Green Suede Shoes". The track titled "Rory" features vocalist and guitarist Larry Kirwan delivering a tribute to Gallagher.[167]
- Flynn Amps manufacture a Rory Gallagher signature Hawk pedal, cloned from Gallagher's 1970s pedal.[168]
- Christy Moore released a song on his 2009 album Listen titled 'Rory is Gone', which pays tribute to Gallagher's life.
- On 2 June 2010, a life-sized bronze statue of Gallagher, made by Scottish sculptor David Annand, was unveiled in The Diamond in the centre of Ballyshannon.[14][169] An award-winning[170] annual blues festival is held in his honour in the same town.
- In 2015, Fender produced the Rory Gallagher Signature Stratocaster.[171]
- In October 2016 approval was given to erect a statue of Gallagher on Bedford Street, near the Ulster Hall in central Belfast.[172] The bronze statue, which was finally unveiled in January 2025, was inspired by a January 1972 Melody Maker magazine cover image of Gallagher performing onstage at the Ulster Hall.[15][173]
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Selected discography
Gallagher released 14 albums during his lifetime as a solo act, which included three live albums:
- Rory Gallagher (1971)
- Deuce (1971)
- Live in Europe (1972)
- Blueprint (1973)
- Tattoo (1973)
- Irish Tour '74 (1974)
- Against the Grain (1975)
- Calling Card (1976)
- Photo-Finish (1978)
- Top Priority (1979)
- Stage Struck (1980)
- Jinx (1982)
- Defender (1987)
- Fresh Evidence (1990)
See also
References
External links
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