It's surprising, considering the interesting back story on the studio portion of this posthumous
Rory Gallagher release, that there are no notes on the actual packaging to chronicle its eventual appearance in 2011, nearly 33 years after being recorded in December 1977. According to the press release, though,
Gallagher clashed with producer
Elliot Mazer about the mix on these dozen tunes and not only shelved the tapes but broke up his longtime band after the San Francisco session ended. Out went keyboardist
Lou Martin and drummer
Rod de'Ath, replaced by skinsman
Ted McKenna (bassist
Gerry McAvoy remained) to strip down the sound for his next phase. About half these songs, such as "Mississippi Sheiks," "Fuel to the Fire," "Brute Force & Ignorance," "Cruise on Out," and "Overnight Bag" appeared on 1978's
Photo Finish in different performances. Some, like the closing "Out on the Tiles" and "B Girl," will be new to all but the most ardent
Gallagher followers. Shortly before his death, the guitarist apparently mentioned to his brother
Donal that he'd like the tapes to be released someday if they were remixed, which is exactly what
Donal's son
Daniel did in 2011, resulting in these long-lost tracks finally seeing the light of day. Despite
Gallagher's reservations, everything here is up to his usual high standard, and he obviously respected the material enough to re-record the bulk of it with a different band and producer later that year. The electric violin on "Mississippi Sheiks" is a new twist on both
Gallagher's blues-rock style and the song, which helps differentiate this version from the more famous one that appeared on
Photo Finish. Saxophone, played by
Martin Fiero, enhances two cuts, also bringing a unique groove, especially to the lumbering "Brute Force and Ignorance." The package includes a December 1979 live show, also recorded in San Francisco, that finds
Gallagher and his two-piece in typically fine fettle. They revisit the
Taste-era chestnut "Bullfrog Blues" and tear into the rarity "I'm Leavin'" with their notorious paint-peeling approach. He digs back some years for a tough take on "Tattoo'd Lady," but most of the set is derived from his mid- to late-'70s albums
Top Priority,
Photo Finish, and
Calling Card. A breathless "Sea Cruise" closes the set, and is probably a nod to
Jerry Lee Lewis, on whose album
Gallagher guested. It caps off a roaring, electrifying show that, along with the studio disc, makes a worthwhile addition to any
Gallagher lover's collection. Even lacking detailed liner notes, this is a keeper and an important historical document in
Rory Gallagher's short but eventful career. ~ Hal Horowitz
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