Donald's Encyclopedia of Popular Music

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GALLAGHER, Rory

(b 2 March '49, Ballyshannon, Co. Donegal, Ireland; d 14 June '95 of complications following a transplant) Blues guitarist. Raised in Cork; left school to play with Fontana Showband, purveyors of chart covers at village dances, later called the Impact. He formed Taste, a trio with Norman Damery and Eric Kittrington, toured UK and Continent for two years, signed by Polydor with Richard McCracken (b 26 June '48) on bass, John Wilson (b 3 Dec. '47), drums. The band was a vehicle for Gallagher's high-octane blues guitar and raw, adequate vocals; LPs Taste '69, On The Boards '70, Live '71 and Live At The Isle Of Wight '72 indicated that he was more at home on stage. The trio split '71 (the others signed up guitarist Jim Cregan, forming Stud; then Cregan joined Family). Gallagher's solo career began slowly because few knew his name, beginning with Rory Gallagher on Polydor '71, on Chrysalis from '75: he purveyed basic blues using few effects, regarding wah-wah pedals etc as crutches for lazy musicians, and eschewed fancy equipment, sticking to his 30- watt Vox amplifier, his lack of pretension also marked by a ubiquitous plaid shirt. He used more original material as a solo, though 'Bullfrog Blues' etc were still staples. Most popular chart period '72--3 when Live In Europe was no. 9 LP, Blueprint no. 12 UK. Used Gerry McAvoy, bass, Wilgar Campbell, drums, on first three; then De'Ath replaced Campbell and Lou Martin added on keyboards, marking first divergence from trio format. Both newcomers were ex-Killing Floor, both quit after Calling Card '76, Ted McKenna on drums restoring a trio lineup. Ten solo LPs charted UK '71--82; nine in USA '72--9: LPs apart from those above incl. Deuce '71, Tattoo '73, two-disc Irish Tour '74, Sinner ... And Saint '75, all on Polydor; Against The Grain '75, Photo-Finish '78, Top Priority '79, Stage Struck '80, Jinx '82. He sessioned on Mike Vernon's Bring It Back Home '71, Muddy Waters's London Sessions '72, Jerry Lee Lewis's London Sessions '73, Lonnie Donegan's Puttin' On The Style '77, Mike Batt's Tarot Suite '79. His uncompromising approach won him a strong live following, while his love of bluesmen Freddie, Albert and B. B. King and penchant for acoustic and bottleneck made him look like anachronism to '80s listeners looking for new fads. Fans knew he'd be happy playing in pubs somewhere for those who appreciated