Blues (3CD Deluxe Edition) (UMC – Chess 2019) –

CD3 – Live Blues

In May of 2019 Rory Gallagher’s estate released “Blues” (the title as unpretentious as Rory and his music).  Available in two formats: a fifteen-track single CD and 2LP vinyl set and a thirty-six track 3CD Deluxe Edition. 

With performances ranging from 1971 to 1989, with ninety percent of the material previously unreleased in any format, the collection is a must have for Gallagher fans.

And make no mistake, this is a fan’s set; the numbers are not sequenced chronologically to chart Gallagher’s “growth”; rather, the tracks are mixed and matched across decades in order to enhance the listener’s enjoyment.

The Deluxe Edition’s three CDs do sort the recordings into groups with Disc 1: Electric, Disc 2: Acoustic and Disc 3: Live, but other than that, the music flows freely across time; as Gallagher’s music can be defined as “timeless” this only seems appropriate.

Disc 3 opens with three numbers from a 1982 show at the Apollo Theatre in Glasgow, Scotland.  Playing as a three piece, with only Gerry McAvoy on bass and Brendan O’Neill on drums, the disc begins with what was the final encore number of the night, a high energy cover of the first Sonny Boy Williamson’s ‘Sonny Boy’s Jump’.  As he is using the Buddy Guy, Junior Wells version as his template, it is listed here as ‘When My Baby She Left Me’.

As was his way, Gallagher does not cover the song so much use it as a foundation on which to create something new dropping verses, adding a new one and taking the arrangement in thrilling new directions.

The numbers then move backwards, with a live version ‘Nothin’ But the Devil’ (a studio version from the “Against the Grain” sessions appears on Disc 1) from the middle of the set comes next. 

Gallagher utilizes a similar arrangement to the studio recording, with the Stratocaster’s tone sounding even harder without the leavening of Lou Martin’s piano. 

Gallagher plays a minute-long intro accompanied solely by the hand claps of the audience and continues in this way through the first verse.  It is over a minute and a half before O’Neill’s drums come crashing in followed by McAvoy.

He completely overhauled his approach to the number three years later when he came to record it in the studio again, during the “Jinx” sessions.    

The last of the three songs was performed earliest in the set, a raging cover of an obscure Willie Dixon song originally recorded by the relatively unknown Chicago bluesman Johnny Littlejohn, ‘What in the World’.

A dark number with McAvoy’s bass throbbing like a bruise and O’Neill’s drums nailing boards over every window to block out any light as Gallagher’s guitar keeps up a measured, purposeful assault. 

The snarling slide that opens the next number, a cover of Muddy Waters’ ‘I Wonder Who’, (‘Who’s Gonna Be You Sweet Man’) is a relief after the sustained battering of the previous number.  Said to be from the late eighties, (no date or location are given) McAvoy and O’Neill are joined by Mark Feltham on harmonica. 

Gallagher had recorded this number with Waters during the “London Muddy Waters Sessions”, but again, Gallagher puts his own unique spin on it.  The rhythm section keeps the number on a low boil as Gallagher levels his accusations, both vocally and on guitar with his first break.  He is eventually joined, goaded on (?), by his “friend” on harmonica, who delivers a wonderful turn.

This number leads directly into another “my baby done me wrong” song, Junior Wells’ ‘Messin’ With the Kid’ taken at a breakneck pace, led by Lou Martin’s frenetic organ playing and Rod de’Ath’s storming drums.  This is from a 1977 show at the Sheffield City Hall and it to moves directly into the next number, and equally torridly paced cover of Freddie King’s ‘Tore Down’, also from 1977.

A little longer than the previous number, I feel this is the more successful of the two as Gallagher has the opportunity to vary the pace a bit.

The next number, from the same 1977 Sheffield show, allows everyone to catch their breath, a slow burn cover of Muddy Waters’ ‘Garbage Man Blues’.

This is classic live Gallagher, with Gallagher’s effortless guitar pyrotechnics, controlled vocals and a rock solid backing band right with him wherever he chooses to go.  Lou Martin’s piano work is a standout.

Martin is also featured on the next number, blistering overhaul of a song written and recorded by Bo Carter in 1936, ‘All Around Man’.  Taken from a 1976 taping of “Old Grey Whistle Test”, this is the most extreme example of Gallagher’s approach to covering other’s material. 

He keeps the title, the lyric concept and the original’s arrangement (translated to electric slide) and for all intents and purposes creates an entirely new song.

For a little over eleven minutes Gallagher and the band pull the listener in with them as they dig deep into the number, making it impossible to not smile, tap your foot and nod your head.

It is Rory who takes the harmonica break on this one and he sings into the harp mic for an original verse where he promises to take his girl on a tour of the galaxy.  Carter’s song was built on verses of double entendres, many of which would never have gotten past the BBC censors in 1976.

It all builds towards a rip-roaring finale make this one of the highlights not only of this disc but also of the set. 

The next number finds Gallagher, drummer Brendan O’Neill and harmonica ace Mark Feltham being joined by Geraint Watkins on piano and Jack Bruce on bass and vocal from a 1991 taping of “Rockpalast”.

This line-up performed three numbers on the show: Muddy Waters’ ‘I’m Ready’, Bruce’s own ‘Politician’ and a cover of Albert King’s ‘Born Under a Bad Sign’, the one chosen for this set.

With an arrangement nothing like the one used when Cream recorded the number thirteen years earlier, Gallagher turns in a solo that owes nothing to either Albert King or Eric Clapton, but is rather, as with all of his covers, pure Rory. 

Drummer O’Neill’s work should also be singled out for mention as he dove-tails his playing with Bruce’s always innovative and invigorating bass work.

Albert King himself takes the lead guitar and vocal on his cover of another King’s, B.B., 1954 Number One hit, ‘You Upset Me Baby’. 

 The number was recorded during King’s 1975 set at the Montreux Jazz Festival.  Two other numbers from the show featuring Gallagher were first released on “Live” (1977) (replaced by “Blues From the Road” (2003)) and are well worth tracking down.

This number was not a natural fit for Albert, and his vocals are the weakest part.  King’s guitar work though never disappoints nor does Rory when given the nod the solo.  King’s horn section nicely fills out the sound.

The final musical number is an unexpectedly hard-driving number from The Chris Barber Band, ‘Comin’ Home Baby’.  Rory sat in with the band in 1989. 

Gallagher was a long-time admirer, having first recorded with Barber in 1971 (shortly after breaking up Taste and going solo).

Barber introduces the number by saying that the band had performed the number “long ago” and that it was Rory’s idea that they do it now.

Originally written as an instrumental it was a hit for Herbie Mann.  Lyrics were written for the number and crooner Mel Torme’s recording of the song was a hit on both sides of the Atlantic.

The force and drive of the playing, fueled by the twin guitar attack of Barber’s long-time guitarist Jon Slaughter and Gallagher, begin to push what was a jazz number towards rock. 

This is a fitting finale for the set; rare, eclectic and with Gallagher tossing off a few of his signature licks, always a treat.  

The final track is snippets of interviews that Rory had given over the years, (quoted throughout the booklet) where he speaks of his influences and inspirations, and this too only seems appropriate as Gallagher was always humble concerning his gifts.  These three CDs are further proof that he had long ago earned his place in the pantheon of great artists and will one day be spoken of by those he inspired, as he speaks here of his inspirations.