Rory gallagher

Pour les mosellans !!

Blues Legends Podcast : Rory Gallagher Complete Story Part 1
https://www.mixcloud.com/Bloom(...)rt-1/

01 Intro-Messin' With The Kid - Rory Gallagher (Irish Tour 74)
02 Blister of The Moon - Taste (first single 1967)
03 Living Blues - Taste (Taste 1969)
04 I'm Movin' On - Taste (Taste 1969)
05 What's Goin' On - Taste (On The Boards 1970)
06 Railway & Gun - Taste (On The Boards 1970)
07 It's Happened Before, It's Happened Again - Taste (On The Boards 1970)
08 I feel So Good - Taste (Taste Live 1971)
09 Wave Myself Goodbye - Rory Gallagher (Rory Gallagher 1971)
10 Can't Believe It's True - Rory Gallagher (Rory Gallagher 1971)
11 It Takes Time - Rory Gallagher (Rory Gallagher 1971 bonus track)
12 Used To Be - Rory Gallagher (Deuce 1971)
13 Crest Of Wave - Rory Gallagher (Deuce 1971)
14 Messin With The Kid - Rory Gallagher (Beat Club 1972)



Blues Legends Podcast : Rory Gallagher Complete Story Part 2
https://www.mixcloud.com/Bloom(...)rt-2/

01 Could I Have A Religion - Rory Gallagher (Live In Europe 1972)
02 Banker Blues - Rory Gallagher (Blueprint 1973 Bonus Track)
03 Stompin' Ground - Rory Gallagher (Blueprint 1973 Bonus Track)
04 They Don't Make Them Like You - Rory Gallagher (Tatoo 1973)
05 20:20 Vision - Rory Gallagher (Tatoo 1973)
06 I Wonder Who - Rory Gallagher (Irish Tour 1974)
07 As The Crow Flies - Rory Gallagher (Irish Tour 1974)
08 All Around Man - Rory Gallagher (Against The Grain 1975)
09 Out On the Western Plain - Rory Gallagher (Against The Grain 1975)
10 Barley & Corn Rag - Rory Gallagher (Calling Card 1976)
11 Calling Card - Rory Gallagher (Calling Card 1976)
12 Wheels Within Wheels - Rory Gallagher (Wheels Within Wheels 197



Blues Legends Podcast : Rory Gallagher Complete Story Part 3
https://www.mixcloud.com/Bloom(...)rt-3/

01 Intro-I Take What I Want (1976-10 Cologne-CUT)
02 Pistol Slapper Blues (1976-10 Cologne)
03 The Cuckoo (1977) with Overdub by Roland Van Campenhout
04 As The Years Go Passing By (1977-07 Montreux) with Albert King
05 Garbage Man (1978-bbc)
06 Brute Force & Ignorance (1977-78 Notes From San Francisco-CUT)
07 The Last Of The Independents (1978-Photo-Finish-CUT)
08 The Mississippi Sheiks (1978-Photo-Finish)
09 Off The Handle (1979-Top Priority)
10 Too Much Alcohol (1979-Montreux)
11 Bad Penny (1980-Stage Struck)
12 Ride On Red, Ride On (1982-Jinx-CUT)
13 Jinxed (1982-Jinx)
14 Nothin' But The Devil (1982-Jinx)



Blues Legends Podcast : Rory Gallagher Complete Story Part 4
https://www.mixcloud.com/Bloom(...)rt-4/

01 When My Baby She Left Me (1986-BBC)
02 Loanshark Blues (1987-Defender)
03 Don't Start Me To Talkin (1987-Defender)
04 I Ain't No Saint (1987-Defender)
05 Seven Days (1987-Defender)
06 Wanted Blues (Cork Opera House 1987)
07 Middle Name (1990-Fresh Evidence)
08 Ghost Blues (1990-Fresh Evidence)
09 Empire State Express (1990-Fresh Evidence)
10 Can't Be Satisfeid (1990) with Chris Barber
11 Born Under A Bad Sign (1990-Cologne) with Jack Bruce
12 Walking Blues (1994-Montreux)
13 Leaving Town Blues (1994?)

ANIMATION + SELECTION + MIX + PROD : BLOOMERS
CONTENU: RORY GALLAGHER FORUM

Bah voilà, ça fait 20 ans qu'il nous a quitté :'(

Commémoration sympa sur Classic 21 à l'instant.

ouais j'écoutais en allant au Delhaize, il avait quand même un sacré son

Fantastique interview de Johnny Marr dans The Blues Magazine:


The Blues Magazine



"I sold clothes to my school friends to raise money to go and see Rory Gallagher play..."

To mark the 20th anniversary of the untimely passing of the Irish blues legend, here's an interview we did last year with Rory superfan, The Smiths guitarist Johnny Marr.


As told to The Blues Magazine's Alice Clark:

"From 1975 when I was 13 and playing along to Deuce, to my time in The Smiths, and through to my solo work, Rory Gallagher has exerted a huge influence on me. He taught me chord changes and tunings, and how to conduct myself on and off the stage. I owe him.

"He was different: he was rock, but he had a soulfulness, a sincerity, a poetry and a femininity. He had elements of folk and of jazz in his music, he was playing chord shapes that Martin Carthy or Bert Jansch would use, but he could also rock the roof off the place better than anyone else. And his riffs… the riff in [The Smiths’] What Difference Does It Make could be a Rory Gallagher riff, the riff in Girl Afraid could be a Rory Gallagher riff, the riff in Handsome Devil could be a Rory Gallagher riff.

"He looked great, with his long hair, beat up converse sneakers, Levi jeans, checked shirt and worn out guitar. He had a beauty and he was totally hip. He was super grunge, and one of the first lo fi musicians. He had the anti style aesthetic 40 years too early. And he lived the romantic life of a bluesman, on the road with his band. I’m describing myself in The Smiths here.

"I followed him around, sold clothes to my school friends to raise money to go and see him in Liverpool, I slept in the train station overnight then got the train back to Manchester to go to school the next day. I went to Hull on a coach, had to walk around the town until the first train home. It was worth it, because live, he’d plug into these beat up amps, there were no pedals, no paraphernalia, it was just bang, straight into it, it was terrifying, intense. He was a man of principle too. He would stay behind after a two hour show and talk to every kid there, and because he did that for me, I vowed I’d do that if I was ever in the same position."

Crest Of A Wave
From: Deuce, Atlantic, 1971

He invents Celtic blues.

This was the first song of his I started to play along to, and to do it right, I realised the guitar had to be tuned differently, and that was eye opening. Deuce, the album this is taken from, is very indie sounding, and despite it being a power trio, it’s not particularly powerful sonically, but it is passionate and the slide solo at the end of Crest Of A Wave is maverick, its his own kind of blues, Celtic blues, and it’s not necessarily blue skies, there is an interesting darkness, a dusk-like or 5am quality to Deuce. He liked to record just before or just after a show to try and capture that raw, live energy, and I picked up on that, I’ve gone straight into recording my second album off my first album [2013’s The Messenger] tour for the same reason.

Who’s That Coming?
From: Irish Tour ’74, Polydor, 1974

The guitar player as bandleader.

Irish Tour ’74 is such a good record, it’s the sound of a real live record, there’s nothing processed here. It’s a great example of the electric guitar player as band leader. All the band members are glued around him, the music isn’t being driven by the drums. His band are really really good, his bassist, Gerry McAvoy, is perfect. This is the sound of a band playing together every night, it’s powerful without being really loud and really distorted. He was a fan of The Byrds and Love and you can hear a couple of poppy hooks in there. He wasn’t musically blinkered. He saw merit in everything. It was liberating.

Tattoo’d Lady
From: Tattoo, Polydor, 1973

A chord change I never tire of.

The first time I heard this, the chord change rang out, it was the chord change I was always looking to hear, the same chord change I used in [The Smiths’ debut single] Hand In Glove. It’s really evocative, and for someone who is supposed to be a hard rocker, there is a beauty and sincerity in it. It’s one of those happy/sad things. The lyrics are about a guy running away to join the fairground, and it’s sung by someone, who lived his life like that. The poetic nature of what he is singing about is the thing that made him not be able to live a normal life when he got older, he couldn’t deal with not being the guy who went from town to town anymore. This song was a blueprint for where I was in my life at the time.

Walk On Hot Coals
From: Irish Tour ’74, Polydor, 1974

A new kind of guitar soloing.

He was an Irish Catholic and there’s a gothic and a spook in his music. His solos are like little concertos and you never know which way they are going to go. He’s not totally improvising, but on this version, it shows no one else played like him, he was totally unique. His solos are not as composed as George Harrison’s or my own, they are not guitar breaks, but they are not regular blues rock solos either. They are very daring, but not as out there or as cosmic or as indulgent as Hendrix’s. They are just the right side of dexterity, of flash, of showing off. You always want your favourite guitar player to go out on a limb, to do things that are impressive, and this was him just seeing what he can do with the guitar.

Sinner Boy
From: Rory Gallagher, Atlantic, 1971

Redefining the power trio.

He was single minded, he wasn’t afraid to split Taste, his 60s power trio even though the press criticised and hounded him for it. At the time he was being compared to the Jimi Hendrix Experience and Cream, but that was reductive stereotyping. There was much more to him than the power trio. He had an indie sensibility, you can hear it on this song, it’s a template for The White Stripes and it’s the foundation of Rory’s solo career. Sonically, it’s so maverick, it’s not muscular, the guitars aren’t distorted, his singing, it sounds like he’s not quite making it, there is a pining in it.

Cradle Rock
From: Irish Tour ’74, Polydor, 1974

The perfect guitar riff.

It’s got a killer guitar riff and it explains perfectly why when Jimi Hendrix was asked, ‘How does it feel to be the best guitar player in the world?’ he said, ‘Go ask Rory Gallagher.’ It’s direct, it’s stripped down, it’s not awash with effects, it’s guitar straight into amp, it’s about his fingers and what they do and it’s one of those ‘look what I’ve just come up with’ moments. You can hear just how great his band are live here and before the band kick in, he does this off mic scream, it was a regular part of his act, and it just sounds so great.

I Take What I Want
From: Against The Grain, Chrysalis, 1975

The cover version as his own song.

In between glam and punk, there was only one person who was anti mansion, anti roadies, anti 30 guitars on stage, and that was Rory Gallagher and in 1975 at the height of capes and progressive exploration and extended soloing, he was saying three to four minutes was plenty for a song even with a solo. The tempo is up, he keeps it rockin, but he’s also got a soul aesthetic and his cover of Sam And Dave sounds like something you would have heard in a club in 1966. He was doing something very different to what everyone else was doing, he was also one of the few, or possibly only musician who could be a rock star on the cover of the Melody Maker, but could totally hold his own with the pub rockers.

Je viens de m'écouter tous les morceaux cités sur yt.
Ça fait vraiment du bien, merci !

Bonjour à tous,

Bravo pour tous ces échanges instructifs depuis déjà tout ce temps sur ce topic

Par contre arrêtez moi si je dis une bêtise mais ça fait 20 ans qu'il nous a quitté et je ne vois rien de fait pour l'occasion
Pas une parution, pas un live, pas un DVD, pas un bouquin rien de chez rien
Sauf si j'ai loupé qque chose c'est vraiment à pleurer.
Mais bon qui sait, ça sera peut-être pour la trentaine ...

Ma radio préférée

Si si il y'a une super édition 4 CD de Taste avec plein d'inédits (notamment live), des versions remasterisées des disques officiels aussi, enfin la totale quoi - j'ai déjà commandé le mien:

http://www.rorygallagher.com/#(...)ember

Merci Doc ! Totally enjoyed !. Pas sur que ça soit celui-ci que j'ai vu (j'avais 12 ans) mais j'ai du découvrir RR sur un passage télé du même accabit. Les 3 musicos sont bien déchaînés, et un bon gros delire sur scène sur Bulllfrog blues.

Revenons au début de sa carrière solo - si vous n'avez pas encore vu le concert du Beat Club, c'est un must!

Ah en effet vu comme ça c'est tout de suite mieux
J'ai bien fait de poser la question !

Si ça peut aider à te rappeler les concerts de l'émission Chorus étaient enregistrés le samedi en fin d'après midi au théâtre de l'Empire avenue de Wagram à Paris (coût de la place 15 francs, ce qui même à l'époque était carrément donné).
Ils étaient ensuite diffusés à la télé le dimanche midi de la semaine d'après.
Celui-ci date du 29 mars 1980.

A ma connaissance la précédente (et toute première) diffusion d'un concert de Rory à la télé française est celle de l'émission Juke Box de Freddy Hausser le 01 juillet 1976.

Terrible ! On l'a en entier aussi celui là ? J'aime beaucoup son jeu au slide.
Ps : batterie enregistrée avec le micro de Danielle Gilbert à Midi-Première
Ps bis : p##### de désaccordage sur les deux derniers accords

Je l'ai en DVD quelque part mais je crois que tous les morceaux sont trouvables sur Youtube.