be safely predicted - after listening to the first records of these
born losers – those of the new punk-rock wave that's trying to
overwhelm the western world, will float away as it comes rolling on.
The Sex Pistols, The Damned, The Stinky Toys and these other entire
brand new, coarse grained bands do not have much to offer that will
stay for long. Nevertheless, that does not alter the fact that it's
understandable why this raw violence scores. Let's be honest, the
tragedy of Rock anno-1976 is not that there is that much bad music
made, but the fact there are that many perfect, but also terribly
boring records released.
Buzzcocks, Vibrator and all the others would not have any chance if
there just were more people like Rory Gallagher: Musicians who are
technically perfect, but still appear enthusiastic, raw and catching.
Live as well on records, the soul of the former Taste and current band
with his own name, always knows how to connect professional skill,
devotion and audible joy. He does this in a more than excellent way.
also explains the hesitation by which Karel put the newest album by
Rory and his Irish mates on the turntable. Because after all these
years, Gallagher played in the studio without mincing matters. The
cover of the new album shows us that this time a real producer (Roger
Glover of Deep Purple) took part and there was the news that flew in
from England that Rory used the quite normal, but for him unique,
effects, like overdubbing. If he, whispered the members of the group to
each other (nervous to their self-willed arts peculiarities), with
that, has not lost his freshness and spontaneous style.
Gallagherists, do not be afraid. Indeed “Calling Card” is built-up
somewhat more sophisticated than the previous albums. But after all, Rory stays a guitar
fanatic who also now again gets very furious sounds out of his
Stratocaster, and who, also guided by a real producer, simply
compensates his shortage of voice by going very hard at his material.
Excellently assisted by Lou Martin on piano, Gerry McAvoy on bass and
Rod de’Ath on drums, Rory Gallagher is working himself in an old
fashioned way through a “rammer” like “Moonchild”, a very good
restrained title song, an almost Status Quo like rocker “Secret Agent
”, continuing with the out of two tempi “Edged In Blue” (on which
the echoing tone is one of the clearest and successful tests of Roger
Glover behind the sound panel) and the rushing “Country Mile”. Let us
accept that “I'll Admit You're Gone” is a just a salt-less balled
between all those strong titles.
Gallagher never gave the impression of the need of a producer and real
studio effects, and on this “Calling Card”, he proves he does not allow
it to affect his own uncomplicated musical way of making music. He
always will be on his very best if he, in narrow jeans and a chequered
shirt, plays live in front of a noisy club. This article
comes from the 10/28/76 issue of the Dutch publication, HUMO Many
thanks to Johan Schoot Uiterkamp for translating this article.
Photo is from the article
reformatted by roryfan