"Do you speak Irish?" Rory Gallagher asks Hérve Picart.
Europe. A modernist hotel smells of credit
air conditioning. Behind its thick
windows, sheltered from the world, is a neighborhood like any other,
inevitable periphery of streets –concrete constrictors around the
city. From the spacious hotel's
aquarium lobby, we can only perceive a muted buzzing: urban spasms
the negotiating financiers’ gin fizzes.
In this sterile ambiance of off-gray and traditional fauna, we
those that are there on business. This
reminds of me of the cruel tale in which Villiers de l’Isle d’Adam uses
exact same words to first describe the Paris morgue, then to describe a
financier's café located on the grand boulevards.
Seeing these spick-and-span zombies living under the perpetual
anesthesia of convenience and convention certainly displays a morbid,
aura; especially when we imagine the purely cannibalistic impulses
within their cerebellums. And then there
are the women: those powdered pheasants, wearing their proliferate
their permanently clotted smiles from their most recent facelifts,
their thick trail of Chanel; or worse yet, those enamel-painted tarts
the part of the bloodsucker on the arms of their dashing protectors
pomaded alopecic dos and their noble bellies.
Brrr. A sinister carrousel.
But suddenly, something perturbs this lugubrious ballet. No one knows what new incongruity spices up this tableau. Though, it's as if the air has suddenly warmed itself up, abruptly. Without a doubt, a flaw in the sterilization system: a breath of life has crossed the aseptic air. In fact, it's simply, only a long-hair walking into the hotel, strutting like a sailor. For the record: ever since I've been observing the comings and goings of the people from inside this “Bromotel” lobby, he was the first of them that I saw walking in from the outside with a glass of whisky in hand! It didn't take me much more to identify Rory Gallagher.
about this devilish Irishman is that, whether he's climbing on stage or
fumbling into the room you're in, the result is the same: a deliriously
current of warm air on two legs greets you.
Here (in the hotel lobby), his whisky glass carries the same
his beat-up Strat does on stage. What
an entrance. Rory belongs to that group
of people whose human radiance is enough to put you under his spell
he utters a word. In that sense, he's
from the same race as that adorable (Peter) Gabriel.
And then, with a few fluid words and salutary greetings, a deep
and velvet-smooth look, a friendly tap: he envelops you and draws you
exude towards him, the same irresistible sympathy and affection you'd
show a friend
of twenty years.
beginning of his
career, throughout the years of performing his standards, he's hardly
changed. That's a bit why I didn't
situate this particular encounter within a specific time frame. It could have taken place anywhere in the
world, at any time. From the beginning
of the 70s, Rory has always been there, unchanged: the adulated
mocking the “style-de-jour” and dragging each generation of kids to his
creating around him and his festive music an impossibly sacred union,
consisting of and encompassing all members of each sect of the rock
world. In many ways, Gallagher's rock is
vogue. Despite the fact that his face
is somewhat fleshier and his silhouette, somewhat portlier, he still
engaging little face that carries itself so well with his music. He still wears his rustic plaid shirts and
his reefer jacket, giving him the allure of rock music's own Cap Horner. This puncture-proof son of Eire appears to
be timeless and just as unbreakable as his vivacious rock, which
crumble through the various trends and continues to unanimously warm up
hearts of those who crave its loud vibrations.
In the elevator, which will take us far away from the hotel
sticks to the skin like tropical heat, and lead us to a calmer
continues to sip his whisky, as his hands fascinate me: they're fine,
well-manicured, young man's hands. I'm
only worried by the tremors that agitate his hands – but Rory is on
nervous and edgy, and so I prefer attributing the cause of the
trembling in his
hands to that context rather than read it as a result of the amber and
liquid that the Irishman is ingesting with the confident serenity of a
nursing at feeding time.
went well once the beer bottles frothed in front of us.
Our talks soon deviated towards the
intoxicating ales of Ireland, memories of Smithwick’s or Harp, and
mysteries of the tenebrous
To better place yourself in the mood: fill
up a half-pint to the two-third mark with this captivating stout, and
the other third with Jameson or Irish Power.
This will make it easier to gain Rory's trust.
And so I managed to lure the lad into my journalist's lair:
How do you feel in regards to your present status in the rock
world? Periodically, it is said that
you are passé or forgotten, but more fans still attend your show
and fill up
the halls when you’re in town than all of these other chart-topping
bands that command a higher asking price to their shows?
Rory Gallagher: It’s not easy to say. Ultimately, I’ve always cared to play my music like I heard it, without preoccupying myself with what was going on around me. There will always be trendsetters and followers, and it is towards those people that the press and the media gear their attention. What the press has done for New Wave is enormous. There are some that say that the movement was a press phenomenon above and beyond anything else. Well, as far as I’m concerned, I don’t benefit from such publicity. They rarely speak of me. I don’t think that I’m a “good” subject. Besides, since I’m always on the road around the world –sometimes in the States, sometimes in Australia– people in England often, sincerely think that I’ve disappeared from circulation, that I don’t tour anymore, that I don’t play rock anymore. It’s my fault after all: I’ve never said that I’d set or follow any fads. I’ve always played my music like I felt it –a bit of rock, a bit of blues, a bit of Rhythm ’n’ Blues, and I’m happy. And from the moment that I’m under the impression that I’m giving people a sense of feeling, of energy and pleasure, I don’t have any reason to look any further. Besides, these fads are so temporary, so fleeting, that you can’t let yourself be frustrated by them. Sure, I’m old school, but I’m happy like that and it doesn’t seem to displease others, or at least from what I can see at my concerts. Having said that, I’ve got nothing to say for or against these trends, this or that fad or fashion –I feel like I’m completely out of this system, not concerned with it at all.
we look at what the Rolling Stones –who’ve also lasted a long time– and
they’ve done, they always got hooked up with each passing fad. No
doubt they’re attracted towards the
desire of adding these new rhythms and colors to their sound.
Have you never felt this temptation of
appropriating yourself with a new sound that could be heard on the
think the Rolling Stones are fundamentally a Rhythm ‘n’ Blues band,
perhaps, it’s their real nature and it’s in this field that they’ve
their best. But, besides that, they
played disco, reggae, but it’s more of an accessory and I don’t believe
it’s essential for them. Well, I like
listening to what’s going on too, and I find that a group like The
interesting in the way that they get influenced from all corners, and
do a bit
of everything: reggae, rock, etc., but I wouldn’t know how to do
In fact, I like music with thick riffs, like
blues, Rhythm ‘n’ Blues or hard rock, because I find that these types
have –how do I put this– a bottom or roots to them. When I play
some of it, I feel like I’m inside something that is
compact. But things that are too trendy
are all pop to me, and pop music feels too superficial. I
definitely don’t like pop songs. To me, it doesn’t have the same
the things that I do. But finally, to
each his own. You can thrown in any type
of fad that’s imaginable and disguise it electronically or with reggae,
think the essential for a musician is to let himself be guided by his
by what makes him feel good; that’s what I’ve been doing for the last
decade. If I were to define my music,
I’d say that it was a combination of all musical styles that gives me
would seem that presently in France, the mass public is more attracted
surefire product, towards seasoned veterans that are guaranteed to give
pleasure –like you. We talk about Gary
Numan here (in France) or others like him everywhere else, but it’s
Gallagher that the masses tend to gravitate. Have you felt that
on your behalf?
Certainly. But you have to remember
first and foremost that rock has a more attractive power to it -from a
standpoint– than electronic music or experimental forms of music. If there are more people at my shows than at
Numan’s, to use your example, it says
a lot about the nature of music. He has
a cold, clinical approach, its only sounds.
Rock –like mine– seeks out sweat and energy, so it’s more human,
therefore more accessible to a larger public than electronic music.
the last ten years you’ve been playing all over the world and haven’t
unemployed too often. Your world tours
become longer and longer each time.
There seems to be a marathon-like quality to your life. How do
you feel when you start off a tour,
a marathon you mean an obstacle race, I don’t feel like a marathon
runner. It’s true that we really work a lot
everywhere: the U.S., Europe, Australia, Japan, but by doing so, I’m
giving myself much of a challenge. I’ve
got nothing to prove to myself or to others.
I really enjoy touring. I adore
that lifestyle. I don’t see why it’s
such a big deal that I go out and tour this much to please
It’s true that a lot of artists tour because
they have to tour. Some hate it, others
are bored by it, and others are simply stage fright. For me,
there’s no particular benefit to touring, I just like doing
it. It’s really a pleasure to tour and
I find myself very fortunate to be able to do so.
over the last ten years, don’t you feel that you’ve changed, evolved,
human level or on a musical level? Even
though your life is still the same, you’re not the same Rory Gallagher.
course I’ve evolved, as much on the personal level as on a musical
not in an obvious fashion, I think. In
my music, the evolution has always been slow, and always within the
of the things that I like to begin with.
I still have the same approach towards music that I’ve always
I’m not one of those (people) that can
voluntarily cut away from my roots, from my predecessors. I want
to progress, but always in a way that
is attached to the blues, to Rhythm ‘n’ Blues.
In fact, I like all sorts of music:
I’m also into hard rock, rockabilly, Cajun –any music that has a beat
it. My goal, my desire for progression
isn’t to have a superficial rapport or a formal rapport with these
music, but to get inside them –always further– and to interiorize them,
just to the point where I can play them, but to the point that I can
them and be able to create them. But
there is other music –like electronic music– that I like simply as a
ambient music, like Tangerine Dream, or Eno, but I don’t feel the
play it, because that music isn’t in my nature as a musician.
finally come unto your own in this well-traveled type of music.
You don’t seem to come from that breed of
musicians that can only achieve personal accomplishment once you’ve
something unique unto you. Gabriel
plays Gabriel, and Gallagher plays the blues.
That’s not quite true. Before I die, I
want to leave a Gallagher sound, a Gallagher style. But I don’t
think that creating necessarily means experimenting
from scratch. I think that one of the
most beautiful musical legacies is that of Ornette Coleman’s, the jazz
saxophonist that was able to create a totally individual form of art,
existing form of music: jazz. To be
yourself doesn’t necessarily mean being different from others. In
fact, there are some people like Peter
Gabriel that do have that approach, but Gabriel makes progressive pop
extrapolates from the pop world, much like I do from rhythm and blues.
Both of us transform our roots into more
individualized terms. People like Stockhausen
or Pharoah Sanders in jazz, or Archie Shepp –those are true
experimentalists. But I think that you
can still leave a mark, your personalized stamp on non-experimental
I think that I succeed in doing that.
Blues and rock are a starting point for me to find myself. I
build myself up through my roots –I‘m not
enough of a visionary to project everything in one piece.
Besides, I think that the greatest
experimentalists work from their roots too.
A writer, just as “new” as Joyce, was also influenced by everything
speak of rhythm and blues as part of your roots, and that form of
curiously, a basic ingredient in most Irish groups, whether it be Thin
the Boomtown Rats. How do you explain
fact, it’s difficult to explain. It’s
true that most Irish groups have something or other to do with rhythm
blues. I think it’s due to the
significant influence that groups like the Stones, or the Animals have
us, (groups) who were also impregnated with rhythm and blues. Van Morrison was the first to follow suit,
and since then, Irish rock has always been colored by that musical
style. Even though I still think that
Irish rock is
different from English rock. It goes
through London, it goes in the same direction –but in its own way. And I think that people like me with the
blues; Lizzy with hard-rock; the Rats, the Undertones or Stiff Little
with New Wave; we all have an Irish approach to our rock, a truly
feel for it. I think it’s in part due
to a special style of songwriting.
A PERSONAL APPROACH
your musical journey you followed a path similar to Johnny
You started off with hard rock –breaking
away from your roots– then you returned to musical forms that were
Gaelic or bluesy, and made a return to acoustic music; and now, you
seem to be
redirecting yourself towards electric rock again, just like Johnny
I’ve been called an “Irish Winter”, but
that’s merely a coincidence. There is a
great difference between the two of us:
I write my own songs, he composes very little. Besides, he’s more
traditional than I am. But we also have many similarities:
acoustic blues, slide, similar musical
tastes. Although I find that I’m more progressive
than he is, in the measure that I believe that I evolve from a personal
viewpoint within each musical style.
stage, you’ve gone back to a trio, giving up the keyboards. Is
that your personal preference by far?
Absolutely. A trio is the best form to
showcase each musician’s abilities in a rock band and bring them
freedom. And, it forces each musician
to double up on their sound, to be constantly rhythmic and melodic at
time. It gives a better musical balance
and forces the musicians to not wander too far off from the
And, the less people we are (on stage), the
easier it is to improvise and change the arrangements. We can
hear ourselves better. Improvising is a lot easier, so it’s more
agreeable, because the more the music changes, the less repetitive and
uniform it gets, because if there are more musicians on stage, they can
play according to what’s already been performed (by the other musicians
doesn’t this formula better flatter the lead guitarist’s ego?
You’ve rarely played with other guitarists
within your band: do you refuse to share the duties?
don’t know if I’m egocentric. I like
the twin lead guitars in Thin Lizzy and other bands, but I don’t feel
or the desire to do it. Yeah, maybe the
trio formula does cater to the lead guitarist’s ego. If that’s
the case, then I’d like people to say that I’m as egocentric
as Jimi Hendrix –I would be very, very flattered. But honestly,
since I’m constantly mixing rhythm guitar with lead
guitar, I don’t need another guitarist in the band, which is probably
reason that I’ve always been alone on guitar.
Taste, you started off with playing hard rock, but you quickly refused
continue playing the role of the metal guitar god. Why?
think it’s because I never had the courage to play the game. It
isn’t only a question of the soloing,
there are the movements, the rituals and the mountain of Marshall amps,
got bored with that very quickly. I
like the force, the energy that comes from hard rock, and that’s why I
hard rock, but I wouldn’t be able to only do that. I’m someone
that is musically curious, somebody that doesn’t like
to get pigeonholed, and I don’t feel any disposition towards assuming
rituals, the smoke and mirrors that hard rock requires. I like
that music, but not the exterior posturing. I find it to be
frustrating. Bands like Motörhead, Iron
Maiden or Saxon do their heavy metal very well, but I’d like to see
variety, more musical fantasy in what it is that they do. That’s
why I prefer more flexible bands,
the young kids that are only discovering Gallagher at the same time as
Maiden and that don’t know which album of yours to choose from your
catalogue, which of your albums do you feel would be the best
a production standpoint, I think the most recent studio album is the
convincing one – I’m talking about Top Priority. The best
introduction is still my last live album, I think. But from a
personal viewpoint, I have a very
big soft spot for Tattoo –from all of my old albums, it’s the one that
seems odd to we the French who discuss politics everywhere, that, with
the problems in Northern Ireland, the most famous groups from Eire
the Boomtown Rats or you– never discuss politics.
goes without saying that I have my own opinion on what’s going on in
but it’s something that is too complex, too grave to be expedited in
words of a song. My opinion is that
Ireland must become a united country once again, that Ulster is a
is kept alive artificially, and that only the reunification of Ireland
sense. Well, that’s my opinion, only my
opinion. The political song exists in
Ireland and is very alive. It reflects
all opinions. Me, I grew up with
political verses. There are good political
singers, but in the
long run, I find it useless, inappropriate even, sometimes. Certain Irish groups like Stiff Little
Fingers wrote strong material on the subject.
But in that group’s case, it’s more social than truly political:
are emotional reactions from people that say what it’s like to live in
streets of Belfast. Politically
speaking, it doesn’t really have a reach to it, and I think that
must be followed up. Only looking to
unblock things, through songs, will never be enough.
Me, I would feel very useless if I were to claim my humble
opinion in my songs. I know that this
point of view must surprise the French, what with the strong tradition
your people have in this domain. But,
what I don’t like very much is that the political song is quickly
fad, an exercise in style in which the content is disappearing, little
little. And I’m not looking at making
rock music more serious than it already is.
We can’t amuse people with nightmares.
Now I’m not saying that we have to load up the genre with
like “Rock! Rock! Rock! Love! Love! Love! Yeah! Yeah! Yeah!” But depth and philosophy ruin rock. I like effective words that feel right
within a riff, and especially words that won’t feel encumbering, five
later, when I’ll want to sing them again.
the French, Ireland is Guinness, the Green rugby team and Rory
Gallagher. When you’re in Ireland, do you feel a
certain national pride that is attached to your name?
have to say so, yeah. My people are
fairly proud to see a fellow Irishman please people around the world
music. Whereas the English see their
bands as products to be consumed, the Irish consider their bands to be
emanations from their country and are truly proud of them. But
that’s normal, because it’s a small
In any case, this little country gave birth to one of the greatest rockers that be, and one of the genre's most charismatic ones. It's never hurt a country when its ambassador is liked for who he (she) is.
There'll soon be a
little bit of Ireland in (here in) France, thanks to Rory, who's coming
back with a new record and a new tour –timorous and friendly, like he
always knows how to deliver them. It's odd, but you'll see what I
mean if you've never met him before: whether it be after leaving an
interview or coming back from a concert, this dear Gallagher will
always leave you with the impression that you've made a new friend.
From the French magazine "BEST " Issue 164 March 1982
A huge THANK YOU to Marc Giguere for translating this article from French to English
photo from the article
reformatted by roryfan
Mailing & Discussion List