Archive for July, 2012

Jul 19 2012

My Brother Rory: Part II

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The following is Part Two of Brian Robbins conversation with Donal Gallagher published in the most recent issue of the music magazine Hittin’ the Note. Many thanks to John Lynskey, publisher of Hittin’ the Note, and Brian Robbins, the author of the article for allowing me to post this to my blog. You can order the latest issue of the publication through their online presence at: HittintheNote.com. And be sure to catch Brian’s previous reviews of the latest album Notes from San Francisco, the re-release of Rory Gallagher’s classic albums, and the Blu-ray DVD of Irish Tour ’74 on jambands.com.


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My Brother Rory — Part Two


My Brother Rory: Part II

Rock and roll has always embraced working-class heroes. Some take on that aura via the work of clever publicists and management, others just are.

Guitarist Rory Gallagher was of the latter category. His style combined the roots of his native Ireland with the American country blues, jazz and the rock ‘n’ roll that he loved. Gallagher earned the admiration of fellow players – including Jimi Hendrix, Muddy Waters, Eric Clapton, Keith Richards and Jack Bruce – but was never one to let ego get in the way of the music. A powerful performer on stage, Gallagher was humble and private by nature. The argument could be made that his personality prevented him from achieving the kind of fame he deserved … but the argument could also be made that Rory Gallagher remained true to himself and his music – something not every performer can claim.

Rory Gallagher died in June 1995 at the age of 47 from complications following a liver transplant. The music he left behind will forever be fodder for “how did he do that?” discussions in guitar circles, and still continues to attract new fans. 2011 saw the re-release of Gallagher’s catalogue of classic albums (both studio and live) by Eagle Rock Entertainment, along with some great live performances on DVD and Blu-ray. Newly re-mastered (and including some previously-unreleased material), this new wave of music has something for both the uninitiated and the longtime Rory fan.

Rory’s brother Donal oversaw the re-release project, his duties carried out both as family and from the viewpoint of having been there himself.Throughout Rory’s career, Donal was by his side as his “road manager,” a title that hardly does his role justice. Perhaps “brother” is truly the best title of all. In Part I of “My Brother Rory” (HTN# 72) Donal shared some childhood memories of his life with Rory, took us along on the 1974 tour of Ireland documented on the amazing Irish Tour ’74 live album and DVD), and gave a detailed account of how Rory came this close to becoming a Rolling Stone. We continue with more of Donal’s wonderful stories.

 

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The Rolling Stones’ 1975 courting of Rory wasn’t the first time a high-profile band had expressed interest in him. In 1968, Rory was leading the power trio Taste when the offer to join another three-piece outfit was extended. Says Donal…

In 1968, Rory’s band Taste was quite popular in the UK. In fact, they were asked to open for Cream’s final show at the Royal Albert Hall that November. Jack Bruce and Ginger Baker were both keen to carry on with Cream, but it was Eric Clapton that didn’t want to continue.

Robert Stigwood – who managed Cream at the time – was also Taste’s agent. It was Robert who put this feeler out that Jack and Ginger would be interested to have Rory join them in Cream, but Rory wouldn’t let the conversation go any further, “That was Eric Clapton – I’d be trying to stand in his shoes forever.” And he didn’t want that.

I could understand it. I knew exactly what Rory was saying. But at the same time, it was a shame that he and Jack were never able to be in a band together. Rory and Jack ended up being quite good pals and when they played together – boy! There was a connection – a sort of … Celtic improvisation where they could take the music beyond certain limitations. I know that Jack was really keen for Rory to come on board in Cream, but…

Jack and Rory did one session together that was filmed by German television – one of the Rockpalast shows. They played three or four songs: “Politician,” “Born Under a Bad Sign”… some Cream numbers, you know?

I have a recording somewhere of Jack on bass, Charlie Watts on drums, Ian Stewart on piano, Rory on guitar and a brass section. It was a fundraiser benefit that Jack put together up in Scotland – a charity deal. Obviously, with Charlie Watts on drums it wasn’t going to be a Cream sort of thing – it was more straight-ahead blues. Some really great music and fun time.

Along with last year’s re-release of Rory’s first six albums, Eagle Rock Entertainment gave us some never-before-heard Rory Gallagher. The sessions for Notes from San Francisco took place in 1977, but it took 34 years for them to see the light of day. Donal explains:

Rory’s heart and soul were in American music- and he had always wanted to record in the States. Rory switched labels to Chrysalis in 1975, and when they found out he was interested in recording in the States, they said, “Let’s make it happen.”

Rory had met producer Elliot Mazer a number of years before that – around the time that Elliot was working on Neil Young’s Harvest album. His studio was located in San Francisco, which was one of Rory’s favorite towns in the States – he loved to hang out there.

Elliot was recording The Last Waltz with the Band at Winterland on Thanksgiving of ’77. Rory had been invited to attend… but we ended up playing in Texas instead for ZZ Top’s Thanksgiving Day show! I don’t think Rory ever forgave me – he really wanted to be at The Last Waltz, but when you have a band on the road and you’re trying to break new territories and get the attention, then … well… ZZ Top in Texas was a major event at that time.

Rory finished the ’77 tour and went straight to San Francisco with material he’d written to start working on the album. As things progressed, it became more complicated for Rory – he wasn’t happy with things. The album was meant to be finished by Christmas, but Rory wanted to do more mixes. The band returned to Europe, but Rory stayed to work on the album.

In January, Chrysalis flew in 53 executives from all over the States to listen to the album – and I was to present it to them. Rory had the actual lacquer – the master – and I went to his hotel room to pick it up. That’s when Rory said, “This album isn’t going anywhere.”

We got into this discussion – I said, “Listen, can’t I just play a couple cuts for the record Company?” This was the one they were going to put everything into – they were planning a big push.

But Rory said, “No.”

I said, “You can’t be serious…” He held it over the trash bin and dropped it in. “That’s what I think of this album.” He said, “No one’s going to hear it.”

I lied my way through the meeting with all the executives, saying that something had happened to the disc overnight – Rory wanted to remix the album and needed a little more time with it.

In the meantime, Rory – knowing I was being crucified by the record company – had gone off to see Bob Dylan’s Renaldo and Clara movie! On the way back, the cab was stopped on a hill. When Rory got out, the door flew back and fractured his thumb! I got back to the hotel to all these messages: Rory’d had an accident; Rory was in the hospital; Rory’d broken his thumb. That immediately took two months out of the extra three we’d been given, as Rory couldn’t do anything with a fractured thumb.


Sex Pistol Live at Winterland

With that we returned home – and that’s when Rory disbanded the lineup he’d recorded the album with and went back to a three-piece band, keeping Gerry McAvoy on bass. You see, while he was in San Francisco trying to remix and remix and remix, the Sex Pistols came to town. Rory went to see them when they played at Winterland and I think it had a huge effect on him. Musically, it was a shambles – a complete shambles – but the excitement, the adrenaline, was what got to Rory. I think at that moment he may have felt the album was too orchestrated, if you like… and in his heart of hearts, he wanted to get back to the cut-and-chase of the three-piece band.

Part of it, too was a post-natal-like depression Rory was always in the throes of at the end of an album. He’d go back and remix or change the sequence of the tracks… he’d often be irritated at that stage. It was part of his personality. Plus, he was a workaholic.

Rory re-recorded a number of the songs with the new lineup and completely abandoned the San Francisco album, so it’s lain dormant for quite some time.

It took the next generation of musical Gallagher genes to bring Notes From San Francisco to live, according to Donal:

My son Daniel plays guitar – he had his own band and now works for our company, Strange Music. He heard the original San Francisco sessions and said, “This is terrific – why don’t you do something with it?” And I said, “Nahh…Rory didn’t want to fool with it,” but Daniel convinced me otherwise.

He brought in his friend Martin Dubka to remix the tracks – they thought with today’s technology they could cure a lot of what Rory didn’t care for at the time. I know Rory had issues with the studio itself in terms of Elliot having ripped everything out to record The Last Waltz. They put everything back, but it was never quite right – there were a lot of breakdowns and issues that irritated Rory.

Daniel then said, “I have these live tracks – Rory did five nights at the Old Waldorf in San Francisco in December of ’79 with the three-piece band. It’s amazing! How about if we combine the two albums – the studio and the live? It’ll be a good way to balance things.” To me, it was a nice way to justify putting the album out. And the more I listened to it, it’s spectacular playing – just lovely.

The ’80’s were tough for Rory Gallagher. His guitar skills were still much admired and respected by his peers, but his albums saw lackluster sales. And to make matters worse, he’d developed a bad habit – prescription tranquilizers.

Rory’s fear of flying had flagged itself up and his doctor gave him something for it. In hindsight, I think he was wearing too many hats and the pressure was getting to be too much. Rory was writing the songs, producing the records, trying to be his own manager. I think the “flying tablets” he’d been prescribed probably relaxed him, so he began to take them more often.

Of course, after a while they weren’t strong enough, so he’d go back to the doctor and upgrade. At the time, no one was aware of how much of a problem Rory had – he was very discreet.

The combination of Rory’s alcohol usage with his pill problem made for “a devil’s brew,” according to Donal. The resulting damage to Rory’s liver ultimately proved to be fatal, although he continued to play right up until the final months of his life. Rory went into a coma following a performance in the Netherlands in January of 1995. He received a liver transplant but a series of complications and subsequent surgeries made for some hard final months. Donal was at Rory’s side when he passed away on the 14th of June.

Was it a blessing in disguise? Who knows? Who knows what kind of life he would’ve had if he’d recovered from the transplant? It’s hard to say.

Looking back, I would have done some things differently. But at the same time, I don’t blame myself. You can’t change someone if they don’t want to change – and Rory could be stubborn. He wasn’t going to change for anybody… and you had to respect him for that.

Looking to the future, Donal addressed the state of the archives:


Rory Gallagher ©Kirk West

Rory did a lot of radio programs – particularly in America. Rory’s music wasn’t formatted for radio airplay – he didn’t release singles. The alternative to that was allowing the FM stations to come and record the live shows for broadcast. So by virtue of that – and by virtue of the fact that no two gigs were ever the same – we have a lot of tapes.

Rory educated us to look after the recordings in the archives. We had the tapes baked a couple of times to make sure there was no moisture, which can cause them to deteriorate. Plus, there are certain types of tapes that are inclined to break up and shatter, so sometimes we duplicated to a different source.

Of course, multi-track tape was quite expensive back in the day, so to economize, we’d oftentimes re-record over shows! I think some of the live tracks on Notes from San Francisco were over-recorded on tapes.

Tom O’Driscoll took over the archives after Rory died and has done a wonderful job of sorting and cataloguing everything. Plus, things show up just out of the blue. It’s fortunate that Daniel is around, as he’s of a different technical age than I am and tracks a lot of stuff – he’s quite diligent. For instance, he turned up this piece that was taped for French television that I’d completely forgotten had been done – I hadn’t been there for the taping. And that would’ve been something that I would never have known to look for.

Sadly, as is often the case, Rory Gallagher has become more well-known since his death – due in no small part to the efforts of his brother Donal. Talking to Donal, it’s obvious what drives him: pride and love.

Since Rory died, there are so many people who have said how much he influenced them and I’m proud of that … but it would’ve been nice if they could have done that while he was alive.

Whenever I’d say anything to Rory about people not paying enough attention to his music, he’d laugh it off.

“Look,” he’d say, “how many people know about Doc Watson? How many people appreciate Django Reinhardt? They’re far better guitarists than I am and they never get any recognition… I’m not complaining.”

But I always thought Rory deserved more… and that’s why we’re doing what we’re doing.

It’s a mission.

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Jul 13 2012

My Brother Rory: by Donal Gallagher — as told to Brian Robbins

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The following is Part One of Brian Robbins conversation with Donal Gallagher published in the 20th Anniversary Issue of the music magazine Hittin’ the Note. Many thanks to John Lynskey, publisher of Hittin’ the Note, and Brian Robbins, the author of the article for allowing me to post this to my blog. Part Two of the interview is in the latest issue of the magazine and will be posted here soon. For those that can’t wait you can order the latest issue of the publication through their online presence at: HittintheNote.com. And be sure to catch Brian’s previous reviews of the new album Notes from San Francisco, the re-release of Rory Gallagher’s classic albums, and the Blu-ray DVD of Irish Tour ’74 on jambands.com.


My Brother Rory — Part One


My Brother Rory

Rock and roll has always embraced working-class heroes. Some take on that aura via the work of clever publicists and management, others just are.

Guitarist Rory Gallagher was of the latter category. His style combined the roots of his native Ireland with the American country blues, jazz and the rock ‘n’ roll that he loved. Gallagher earned the admiration of fellow players – including Jimi Hendrix, Muddy Waters, Eric Clapton, Keith Richards and Jack Bruce – but was never one to let ego get in the way of the music. A powerful performer on stage, Gallagher was humble and private by nature. The argument could be made that his personality prevented him from achieving the kind of fame he deserved … but the argument could also be made that Rory Gallagher remained true to himself and his music – something not every performer can claim.

Rory Gallagher died in June 1995 at the age of 47 from complications following a liver transplant. The music he left behind will forever be fodder for “how did he do that?” discussions in guitar circles, and still continues to attract new fans. 2011 saw the re-release of Gallagher’s catalogue of classic albums (both studio and live) by Eagle Rock Entertainment, along with some great live performances on DVD and Blu-ray. Newly re-mastered (and including some previously-unreleased material), this new wave of music has something for both the uninitiated and the longtime Rory fan.

Rory’s brother Donal oversaw the re-release project, his duties carried out both as family and from the viewpoint of having been there himself. Throughout Rory’s career, Donal was by his side as his “road manager,” a title that hardly does his role justice. Perhaps “brother” is truly the best title of all.

Donal Gallagher was kind enough to share some of his memories of Rory with Hittin’ the Note. Granted, his stories could fill a book (and possibly will some day), but in the meantime, we’ll need to be content with just a few glimpses into the lives of Rory and Donal Gallagher.

 

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One of Donal’s earliest musical memories of his brother is of a young Rory listening to American Armed Forces Network radio, broadcast from the Navy base in Derry, Northern Ireland during the Cold War:

Rory always had this kind of amazing understanding of music. It wasn’t so much the blues at that time as it was jazz – The Voice of America Jazz Hour on the radio. He must have got the gene from my father, in terms of the ability to play and instrument.

I remember Rory’s wish was to get a guitar – and at that time, a guitar wasn’t a very common thing. I recall trying to make guitars and banjos from round Kraft Cheese packets, rulers and elastic bands. Rory had just an unnatural appetite to learn all about the musicians and the music.

After the jazz guys came the blues guys: you had a lot of American influence from the musicians who’d come over to England and stayed on. Chris Barber is someone who doesn’t get his full credit – a traveling jazz/blues bandleader who had a show on the BBC radio. He brought people like Muddy Waters and Albert King to Britain. Hearing them on the radio was Rory’s musical education.

Donal described how early “musical differences” between he and Rory set the stage for his career as his brother’s road manager:

Rory, being the older brother, was always right, of course! But in fairness to Rory, he always had this tuned-in direction for himself. He knew where he was going, what he wanted and didn’t want – and was very clear about it. We were always close; the family had a lot of movement from city to city as we were growing up. Our father’s family lived in Derry in Northern Ireland, while our mother’s family lived in Cork in the south – very different feel and identity.

As Rory developed his guitar skills, he played at hospitals and at church concerts. I was brought in for harmonies: we thought ourselves the Irish version of the Everly Brothers – at the age of, oh, nine and eleven! One night I tried to fill out the time with a traditional Scottish piece I knew, but stopped a ways into it to tell Rory that he wasn’t playing it right – he was trying to put a rock ‘n’ roll feel to it.

I guess I embarrassed Rory – I got “fired” that night! I ended up doing whatever I had to do to get back in his good graces, including carrying his guitar and amplifier. That’s when I became his “roadie.”

Rory wasn’t going to let the violence stop him from playing to people

We’ll fast-forward now to one of the highlights of the new Eagle Rock re-releases, the Irish Tour ’74 album and video, featuring Rory, drummer Rod De’Ath, bassist Gerry McAvoy, and keyboardist Lou Martin. The period was an especially troubled one in the country’s history, with violent clashes between the Protestant unionist and Catholic nationalist communities in Northern Ireland. Nonetheless, Rory Gallagher wanted to take his music to everyone.

It was certainly dangerous to be on the road in Ireland in 1974 – particularly Belfast. The venue where the Irish Tour ’74 concert was filmed was the Ulster Hall there. The street it was on got renamed “Bomb Alley.” Just to give you an idea of things. You couldn’t predict anything as far as the bombings went… there was no protocol to it. It could happen anywhere. One of the hotels we stayed at was demolished by a bomb just after we’d moved on.

I remember playing on New Year’s Eve when eleven bombs went off in the vicinity. And we were all waiting for the twelfth one. When we said anything about it, we were told, “Apparently they’re saving the big one for next year.”

We were warned not to drive overnight, as well – to do all our traveling during the day. But we figured, “if we drive overnight, we’ll make better time.” And Rory wasn’t going to let the violence stop him from playing to people.

Recorded four years into Rory’s career as a solo artist after the breakup of the power trio Taste, Irish Tour ’74 is a snapshot of the quartet at the height of its powers. A sweat-soaked Gallagher brandishes his beloved battered Strat for much of the performance, leading his band mates to places far beyond the walls of the Ulster Hall.

In the beginning, that was meant to be a documentary about Rory and Ireland for the BBC. Rory said, “With this band and this lineup, I just want to get it recorded – it can’t get much better.” You know, he had a sense of it: the simplicity, the dynamics, the kind of psychic thing that was going on between the guys at that point. There was never a set list; there were a lot of nights that he might open with the same number, but it was so unpredictable that the guys would say to me, “Do you know what Rory’s going to open with?” And I’d have to tell them I had no idea.

There was this feeling of keeping it on the edge and unpredictable all the time. they’d take a song somewhere and you’d be watching, think, “God, they’ve really gone out on a limb … how’s he going to get back into the main part of the song?” And somehow they’d manage to bring it back in. At the end of the day, you have to please yourself on stage and that’s what they did every night. There was an excitement – like a football final or something. Whether there was 100 or 100,000 people in front of him, Rory played to them, brought them in with that electricity. Their vibes would come into it and he’d play off that, as well. They performed their part. Everybody was involved.

As mentioned earlier, Rory Gallagher’s talent was well-recognized by his fellow musicians – including the Rolling Stones, who had their road manager make a call to Ireland after Mick Taylor’s departure from the band in December 1974.

After Rory delivered the Irish Tour ’74 record to Polydor – that was the final album of a six-album contract he had with them – Rory was in a position to do whatever he wished.

It was the early days of January ’75 and we’d just gotten back home and had one or two days off. As I remember, it was around midnight when the phone rang. I knew it was long distance as in those days you had to connect to an operator to call another country. Of course, whenever you got a call that late at night, you’re worried that someone’s been killed in an accident or something, you know?

This guy comes on the line and says, “Have I got the right number for Rory Gallagher?” in a very British accent. This was at the height of the troubles, of course, and it had been suggested to me that Rory was a possible kidnap target.

I’m being very evasive about whether he had the right Number or not, trying to find out who he is. I finally said I could get a hold of Rory, but it would take a few minutes – could I tell him who’s calling? And the guy said, “My name is Ian Stewart.”

Of course, speculation was rife at that time about who the Stones would have and immediately I put two and two together. I almost blew it by saying, “Of the Rolling Stones?” – but I held back and said, “Of … London?”

I told him to hang on, as I could get Rory, but it would take a few minutes. Rory had gone to bed a short while earlier, so I knocked on his door and said, “You’ve got a phone call downstairs.” He said, “Who is it?” and I said, “It’s the Stones.”

Of course, he thought I was having a prank with him and refused to get up. Eventually, though, he went down and took the phone call. They wanted to know if he could be in Holland on the tenth of January – was he willing to come over and have a jam with them? Rory said he’d be delighted and honored.

We then returned to London immediately – there was a tour booked for Rory at the end of January in Tokyo. When the ticket to Rotterdam showed up, there was only one, “Where’s mine?” I asked. Rory said, “There’s only one – I guess you’re not coming.” He was really thinking there was no need of me being there while they were just sitting around and playing, you see.

The simple fact about it was that Rory was the one the Rolling Stones wanted; there was no one else in the race at that time. If you think about the music the Stones had been releasing in the years prior to then, the Mick Taylor years were really a golden period. They were trying to find someone who could fill that gap or even embellish that scenario. Rory was the closest person to fit in that role.

When the Stones started their own label in the early ’70’s, Keith Richards mentioned in interviews that one of the artists they’d like to have was Rory. He’d obviously listened to Rory and recognized how he had combined some variation of American country music – which Keith loved – into rock and roll. Of course, the Stones are always referred to as “Keith’s band,” but Mick Jagger really runs things as far as the financial arrangements and “who’s in/who’s out.”

In the meantime, the Stones postponed the date they wanted Rory to come – and we were close to the start of the Japanese tour. They told us that the Stones mobile recording unit was having problems and they needed to get it going. But I think what was really happening was Keith was going through one of his worst drug periods. When Rory finally got the call to come, he took his Strat and a small Fender Champ amp and flew across to Holland on his own.


Rory Gallagher ©Kirk West

On the night of his arrival, Rory was met at the airport by Mick Jagger himself. I remember Rory telling me it was snowing and he was standing outside freezing with his guitar and amp while Mick went down the taxi line negotiating the rate to Rotterdam. There were no stretch limos!

Marshall Chess Jr. was managing the Stones at that time. Rory allowed that when he and Mick got to the concert hall in Rotterdam where everyone was waiting, Marshall said to him, “Welcome to the Rolling Stones. You’re the guy for the job and I’m delighted that you’ve come and joined us.”

Rory didn’t know what to say, of course. And when Marshall asked him, “Who do I talk to – where’s your management?” Rory had to tell him, “Well … he’s not here. I … I just thought I was coming for a jam.”

They got a session going that first night, but Keith didn’t turn up for it. Mick was nervous; that’s when Rory realized Mick and Keith weren’t on talking terms and Mick was trying really hard to get the band back together. Charlie and Bill had no say whatsoever, so they just stayed out of it and just came in when they were recording. Mick says to Rory, “Look, I’m not sure about Keith – whether he’s going to come down or not. I’ve got a song I’ve been working on … have you got a riff for me?” Rory had been writing a song and he started up a riff. They began making music; started getting down to work. I think the song was “Hot Stuff.”

The next evening, Keith showed up. Rory told me they did four tracks, one of them being “Miss You.” I believe I know when Rory heard that track later on he said, “That’s my riff.”

Finally it got to the point where Rory had to say to Mick, “Look, I need to be in Tokyo in a few days time – I’ve got a tour. What’s the plan here?” And Mick said, “You’ve got to have a conversation with Keith. He’s waiting up in his room for you, go up and talk with him.”

So Rory goes up to Keith’s palatial suite and finds the door wide open. Rory walks in to find Keith on the bed, completely comatose. Rory stayed up all that night, checking every half hour to see if Keith was up or if he could wake him gently, but he was too out of it. By eight o’clock the next morning, Rory – who hadn’t slept at all the night before – packed up his guitar and amp, got on the plane and flew back from Rotterdam to London. I met Rory with a fresh suitcase at Heathrow and we flew straight to Tokyo.

There was really very little conversation between us about what happened in Holland with the Stones. I think Rory’s attitude was, “If they wanted me badly enough, they would have told me.”

Upon reflection, if I’d been there… I don’t know how it would have worked out if things had been different. It’s one of those ‘what if’ things.”


This concludes part one of Hittin’ the Notes’ visit with Donal Gallagher. The second half of the conversation with Donal is in the current issue of Hittin’ the Notes and includes memories of the sessions behind Rory’s newly-released Notes From San Francisco album. Stay tuned for the second half of My Brother Rory

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