Rory Gallagher looked fresh, but admitted to being just a
little tired. And it's not surprising he felt some fatigue, because
since his band first started Rory has played the role of the rambling,
traveling musician, getting his music over to people in a perpetual
series of concerts.
day we met, seated in Polydor's luxury reception area, he had been in
the country only four hours, having just flown in from Ireland.
he says, he had a hectic work schedule. “But I like that, because I
don't feel like a musician when I'm not playing.”
a soft spoken guy from Cork, who deliberates over words and goes out of
his way to be lucid, digs going back home. And that tour was the best
But it's rarely the Gallagher band bombs out. If my opinion isn't proof
enough, just listen to his new set “Live in Europe”. It's only
been on sale for a week, and has already almost equaled the sales of
each of the two studio sets.
seem to go for the rough, gutsy Gallagher they've become accustomed to
hearing at the concert hall.
had the feeling the next album was going to be a live one,” he told me
thoughtfully. “I'd done the two studio ones, and I felt it was time.
speaking, I've never made a live album in my life. There was one
released when I was with Taste, but I actually wasn't involved with the
making of that. So this time, I had the thrill of being involved.”
had a few songs like “Going to My Hometown”, that I couldn't visualise
being recorded in a studio.”
felt very alive at the time in the sense of concerts and with the whole
music, whereas previously the songs had always seemed to lead towards a
studio.” “I might not
make another live album for a while again...it depends whether I feel
it; it's instinct.”
new album was done in very hectic circumstances. The actual recordings
were done in February and March. And even when the tapes were being
recorded, I was dashing back and listening and taking notes.”
gigs were suitable for recording, and the mobile units were only
available at certain times. We ended up with nine tapes of gigs from
all over the place, so it was a case of staying up late at night and
mixing at three in the morning. But I'm very happy with the results.
And the company got it out in time, so it's current.”
another month wouldn't have made that much difference, really, but it
wouldn't have the same sting to those people who were listening to
those particular concerts recently.”
music Press reviewers have unanimously decided the band are at their
best on stage. To some extent the sales figures- rising at a
considerable rate- emphasize the same point.
agree,” said Gallagher, “in as much that every single artist I know.
live and studio albums, I may come over more human, the Stones sound
human even on the studio stuff.”
live performances, I tend to be excited and do kind of a hairy thing,
so you have to work hard to create something similar in a studio.”
achieve the cosmopolitan feel on his “In Europe” collection, Gallagher
recorded many performances both here and there. Although,
undoubtedly a remarkable set, it highlights something he has been
criticised for. The album
features the stage show he's currently performing and some
people have described that as boring and even predictable.
aren't turned on by my particular stuff, then it'll be be boring. But
if you like my style...it's all right. It's as simple as that. I
look at the reaction. I still get excited. I still get excited like I
did when I was a 15 year old musician.”
stage, I'm predictable in as much as I don't dye my hair a different
colour every week. And I have the same guitar. But I don't believe in
pretty apparent that his musicians, Wilgar Campbell and Gerry MacAvoy,
are very much sidemen, almost in a secondary role - propelling
Gallagher: “The same criticisms should be leveled at Bill Haley, Muddy
Waters, B.B. King and so on. “If you're a big enough artist people
don't consider it. But if you're like me, and have been connected with
an organised group at one stage, it's an inevitable criticism.”
happens because the kind of music I play, which is free form, is
restricting in the rhythm section. If you're
playing music as blues based as mine, the rhythm section is always
restricted. That's one restriction of the blues.”
comes across like the rhythm section are just doing a job of work. But
to me, they play a lot more than that. I don't under-estimate them at
could say that Charlie Watts is restricted in the Rolling Stones. But
which would the Stones prefer?”
stick in Elvin Jones, who plays so many different types of things in
the rhythm section? It would ruin the Stones music.”
fantastic jazz drummer would ruin my music. If you keep that in mind
when you're listening to the two lads, it will make you appreciate how
good they are and how tight they play.”
the sales of albums for the Gallagher band are now matching their
audience of pubbling power.
his arms, he stated: “I'm not looking to be crucified. I'm quite happy,
I've a lot of ambition, but of my own kind. It'd be great if this album
or the next goes to the Top 10 albums. It'd give me a real kick,
because at least I could say that the chart still has some relation to
have a hit single without even playing – like Whistling Jack Smith, who
didn't exist at all: the Archies or the Monkees. That's nothing to do
with real music.
music has something to do with playing and people and sweating and
dressing rooms and breaking strings. That's music to me. This
article comes from the 5/27/72 issue of New Musical Express reformatted