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Blues - Released October 9, 2020 | UMC (Universal Music Catalogue)

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Two Gallaghers hide another. No, Rory Gallagher is not the brother, nor the father, or even some distant cousin of Liam and Noel. Though over a couple of decades (the 70s and 80s) the Irish guitarist left his mark on the history of Anglo-Saxon music with a blues rock focus. He set out in 1970 at the Isle of Wight festival with his Taste trio and vintage Stratocaster, putting pop music back on the straight and narrow with the blues. His early records still have a folk-psych tinge that was in vogue at the time. Though he very quickly hardened his tone and simplified his sound… or the other way around. He’s the people’s guitar hero in a plaid shirt who plays with both power and grace. He’s a virtuoso who masters simplicity. He has the voice of a bluesman, channelling the magic of good, uncomplicated melodies. This extensive best-of album covers his whole discography, from Blister on the Moon with Taste in 1969 to the hauntingly beautiful Ghost Blues from his last album in 1990, not forgetting a load of tracks from his best period in the 70s. As for the rare gems, you’ll find a greasy version of the Rolling Stones’ (I Can’t Get No) Satisfaction, sung in duet with Jerry Lee Lewis while they were in the studio together in 1973. Beware the Rory! © Stéphane Deschamps/Qobuz 
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Blues - Released October 9, 2020 | UMC (Universal Music Catalogue)

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Rock - Released March 6, 2020 | UMC (Universal Music Catalogue)

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Rock - Released March 6, 2020 | UMC (Universal Music Catalogue)

Check Shirt Wizard: Live in 1977 is a 20-track collection culled from four shows from Rory Gallagher's 1977 U.K. tour. The previously unreleased live tracks were recorded in London, Sheffield, Brighton, and Newcastle and feature songs from his 1976 album Calling Card as well as tracks from 1975's Against the Grain. © TiVo
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Blues - Released May 31, 2019 | UMC (Universal Music Catalogue)

The late Irish blues rocker Rory Gallagher would have been pleased to see the Chess logo embossed on the three-disc Blues, a box of rare, unissued, acoustic, and live recordings. Issued to mark what would have been his half-century as a recording artist, 90-percent of the material here is previously unreleased. The discs are divided thematically: Electric, Acoustic, and Live. The booklet is wonderfully annotated with an authoritative essay from journalist and music historian Jas Obrecht; it places Gallagher in his rightful historical place as an electric blues rock pioneer alongside admirers Eric Clapton, Johnny Winter, Jimi Hendrix, and Peter Green. The set opens with a raucous cover of Sonny Boy Williamson's "Don't Start Me Talkin'," an unissued cut from the sessions that begat the excellent 1982 offering Jinx. Gallagher is in full Chicago house-rocking mode with his wailing harmonica and nasty slide guitar, accompanied by pounding piano and a barely contained rhythm section shuffle. His songwriting is showcased to fine effect, too, with the slow-burning "Off the Handle" from a live BBC appearance in 1986, "Should've Learnt My Lesson," an outtake from the Deuce sessions in 1971 (a midtempo blues rocker steeped in the Celtic folk tradition), and an unhinged take of his "Bullfrog Blues" from a radio station appearance in 1972. Along the way, we get lean, mean covers of Tony Joe White's "As the Crow Flies," Green's "Leaving Town Blues," and two guest spots, "I’m Ready" with Muddy Waters in 1971, and "Drop Down Baby" with skiffle icon Lonnie Donegan from 1978. The second disc showcases Gallagher's considerable acoustic guitar playing and extremely effective singing, as well as his obsessions with Waters' slide playing and Jesse Fuller's and Big Bill Broonzy's rhythmically complex fingerpicking. Highlights include "Prison Blues" and Broonzy's "Bankers Blues" (both from the Blueprint sessions), the slide-tastic solo acoustic "Secret Agent" from a TV appearance in 1974, and a screaming solo take on John Lee Hooker's "Want Ad Blues" from a 1988 radio session. There are also several key originals, including the previously unissued "Whole Lot of People." The first three tracks from the live volume are drawn from a 1982 concert, with Gallagher's wrangling readings of Sonny Boy Williamson's "When My Baby Left Me," Jerry West's "Nothing But the Devil" and Willie Dixon's "What in the World" -- they’re fiery, direct, improvisational, and raw as hell. Junior Wells' "Messin with the Kid," culled from a 1977 Sheffield concert rocks like the MC5, as does Sonny Thompson's "Tore Down" from another show. There are three Gallagher guest spots, including "Born Under a Bad Sign" with Jack Bruce from 1991, "Comin’ Home Baby" with Chris Barber in 1989, and "You Upset Me" from Albert King's Live in 1975. All told, this box places Gallagher in his rightful place with his peers above, and as an influence cited by guitar slingers Brian May, Gary Moore, Johnny Marr, and Slash. Blues makes a final incontrovertible case for Gallagher's musical immortality. © Thom Jurek /TiVo
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Blues - Released May 31, 2019 | UMC (Universal Music Catalogue)

The late Irish blues rocker Rory Gallagher would have been pleased to see the Chess logo embossed on the three-disc Blues, a box of rare, unissued, acoustic, and live recordings. Issued to mark what would have been his half-century as a recording artist, 90-percent of the material here is previously unreleased. The discs are divided thematically: Electric, Acoustic, and Live. The booklet is wonderfully annotated with an authoritative essay from journalist and music historian Jas Obrecht; it places Gallagher in his rightful historical place as an electric blues rock pioneer alongside admirers Eric Clapton, Johnny Winter, Jimi Hendrix, and Peter Green. The set opens with a raucous cover of Sonny Boy Williamson's "Don't Start Me Talkin'," an unissued cut from the sessions that begat the excellent 1982 offering Jinx. Gallagher is in full Chicago house-rocking mode with his wailing harmonica and nasty slide guitar, accompanied by pounding piano and a barely contained rhythm section shuffle. His songwriting is showcased to fine effect, too, with the slow-burning "Off the Handle" from a live BBC appearance in 1986, "Should've Learnt My Lesson," an outtake from the Deuce sessions in 1971 (a midtempo blues rocker steeped in the Celtic folk tradition), and an unhinged take of his "Bullfrog Blues" from a radio station appearance in 1972. Along the way, we get lean, mean covers of Tony Joe White's "As the Crow Flies," Green's "Leaving Town Blues," and two guest spots, "I’m Ready" with Muddy Waters in 1971, and "Drop Down Baby" with skiffle icon Lonnie Donegan from 1978. The second disc showcases Gallagher's considerable acoustic guitar playing and extremely effective singing, as well as his obsessions with Waters' slide playing and Jesse Fuller's and Big Bill Broonzy's rhythmically complex fingerpicking. Highlights include "Prison Blues" and Broonzy's "Bankers Blues" (both from the Blueprint sessions), the slide-tastic solo acoustic "Secret Agent" from a TV appearance in 1974, and a screaming solo take on John Lee Hooker's "Want Ad Blues" from a 1988 radio session. There are also several key originals, including the previously unissued "Whole Lot of People." The first three tracks from the live volume are drawn from a 1982 concert, with Gallagher's wrangling readings of Sonny Boy Williamson's "When My Baby Left Me," Jerry West's "Nothing But the Devil" and Willie Dixon's "What in the World" -- they’re fiery, direct, improvisational, and raw as hell. Junior Wells' "Messin with the Kid," culled from a 1977 Sheffield concert rocks like the MC5, as does Sonny Thompson's "Tore Down" from another show. There are three Gallagher guest spots, including "Born Under a Bad Sign" with Jack Bruce from 1991, "Comin’ Home Baby" with Chris Barber in 1989, and "You Upset Me" from Albert King's Live in 1975. All told, this box places Gallagher in his rightful place with his peers above, and as an influence cited by guitar slingers Brian May, Gary Moore, Johnny Marr, and Slash. Blues makes a final incontrovertible case for Gallagher's musical immortality. © Thom Jurek /TiVo
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Blues - Released May 31, 2019 | UMC (Universal Music Catalogue)

The late Irish blues rocker Rory Gallagher would have been pleased to see the Chess logo embossed on the three-disc Blues, a box of rare, unissued, acoustic, and live recordings. Issued to mark what would have been his half-century as a recording artist, 90-percent of the material here is previously unreleased. The discs are divided thematically: Electric, Acoustic, and Live. The booklet is wonderfully annotated with an authoritative essay from journalist and music historian Jas Obrecht; it places Gallagher in his rightful historical place as an electric blues rock pioneer alongside admirers Eric Clapton, Johnny Winter, Jimi Hendrix, and Peter Green. The set opens with a raucous cover of Sonny Boy Williamson's "Don't Start Me Talkin'," an unissued cut from the sessions that begat the excellent 1982 offering Jinx. Gallagher is in full Chicago house-rocking mode with his wailing harmonica and nasty slide guitar, accompanied by pounding piano and a barely contained rhythm section shuffle. His songwriting is showcased to fine effect, too, with the slow-burning "Off the Handle" from a live BBC appearance in 1986, "Should've Learnt My Lesson," an outtake from the Deuce sessions in 1971 (a midtempo blues rocker steeped in the Celtic folk tradition), and an unhinged take of his "Bullfrog Blues" from a radio station appearance in 1972. Along the way, we get lean, mean covers of Tony Joe White's "As the Crow Flies," Green's "Leaving Town Blues," and two guest spots, "I’m Ready" with Muddy Waters in 1971, and "Drop Down Baby" with skiffle icon Lonnie Donegan from 1978. The second disc showcases Gallagher's considerable acoustic guitar playing and extremely effective singing, as well as his obsessions with Waters' slide playing and Jesse Fuller's and Big Bill Broonzy's rhythmically complex fingerpicking. Highlights include "Prison Blues" and Broonzy's "Bankers Blues" (both from the Blueprint sessions), the slide-tastic solo acoustic "Secret Agent" from a TV appearance in 1974, and a screaming solo take on John Lee Hooker's "Want Ad Blues" from a 1988 radio session. There are also several key originals, including the previously unissued "Whole Lot of People." The first three tracks from the live volume are drawn from a 1982 concert, with Gallagher's wrangling readings of Sonny Boy Williamson's "When My Baby Left Me," Jerry West's "Nothing But the Devil" and Willie Dixon's "What in the World" -- they’re fiery, direct, improvisational, and raw as hell. Junior Wells' "Messin with the Kid," culled from a 1977 Sheffield concert rocks like the MC5, as does Sonny Thompson's "Tore Down" from another show. There are three Gallagher guest spots, including "Born Under a Bad Sign" with Jack Bruce from 1991, "Comin’ Home Baby" with Chris Barber in 1989, and "You Upset Me" from Albert King's Live in 1975. All told, this box places Gallagher in his rightful place with his peers above, and as an influence cited by guitar slingers Brian May, Gary Moore, Johnny Marr, and Slash. Blues makes a final incontrovertible case for Gallagher's musical immortality. © Thom Jurek /TiVo
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Miscellaneous - Released May 7, 2018 | Dear Deer

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Miscellaneous - Released April 27, 2018 | Soul De Anima

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Miscellaneous - Released September 25, 2017 | Soul De Anima

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Techno - Released July 31, 2017 | Soul De Anima

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House - Released July 28, 2017 | Eyes To The Front

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Electronic - Released March 29, 2017 | Mr.Moutarde

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Rock - Released October 20, 2014 | UMC (Universal Music Catalogue)

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Blues - Released October 28, 2013 | UMC (Universal Music Catalogue)

Booklet
Eighteen years after the death of Rory Gallagher, the incendiary Irish blues-rock guitarist and songwriter gets one of the most unusual tribute compilation packages in music history. Kickback City was conceived by Gallagher's brother Dónal to celebrate the guitarist's lifelong love of hard-boiled noir fiction -- he often cited its themes and references in his songs. Dónal recruited best-selling, award-winning crime novelist Ian Rankin (of the popular Inspector Rebus series) in a project that compiles studio and live performances by the guitarist that were directly inspired by the genre. To accompany the music, Rankin wrote a novella that liberally references Gallagher's titles and lyrics; entitled The Lie Factory, it too is enclosed. There is an audio reading of the novella by Aidan Quinn on a separate disc. The entire package was illustrated by Timothy Truman (DC Comics, the Grateful Dead, Santana, First Comics), a lifelong fan of the guitarist. [There is also a limited deluxe vinyl edition available from the artist's website.] © TiVo
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Trance - Released August 15, 2011 | Soundpiercing

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Rock - Released May 17, 2011 | UMC (Universal Music Catalogue)

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 Donald that he'd like the tapes to be released someday if they were remixed, which is exactly what Donald'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 /TiVo
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Trance - Released February 15, 2010 | Soundpiercing

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Blues - Released May 22, 2006 | Mercury Studios

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Rock - Released March 1, 2003 | UMC (Universal Music Catalogue)

Although best known for his barnstorming blues-rock, Irish guitarist Rory Gallagher had a softer side, too. All of his studio albums contain at least one acoustic folk-blues track, and Gallagher included an unplugged set in the majority of his live shows way before that was fashionable. Almost eight years after his death, Rory's brother Donal compiled a 14-track collection of previously unreleased work dedicated to Gallagher's folkier approach. It's the second such posthumous album (the terrific live and very electric BBC Sessions came out in 1999), and focuses on an important if lesser recognized aspect of the guitarist's career. It's also an eclectic set that shifts from melodic ballads ("Wheels Within Wheels") to instrumental modified flamenco ("Flight to Paradise" with classical guitarist Juan Martin) and solo Delta blues (a studio take of Tony Joe White's "As the Crow Flies," the live version of which was a highlight of Irish Tour). And that's just the first three songs. Unreleased gems such as "Lonesome Highway" sound like classic Gallagher (this even features a plugged-in solo), but the disc is most successful when it unearths rare collaborations with Martin Carthy, Bert Jansch, and Scottish skiffle legend Lonnie Donegan. The latter is caught live on a rousing version of "Goin' to My Hometown," one of this album's many highlights. The heavily bootlegged "The Cuckoo," also finds official release in a stirring version assisted by Roland Van Campenhout on second guitar. Three live tunes with stripped-down accompaniment from Béla Fleck on banjo and harmonica master Mark Feltham find Gallagher running through a seemingly improvised medley of "Amazing Grace," Robert Johnson's "Walking Blues," and Bill Monroe's "Blue Moon of Kentucky," showing just how diverse Gallagher's tastes were. Established Gallagher fans will love this for the unusually laid-back setting, but Wheels Within Wheels might also attract a hardcore folk audience likely unaware of the rock guitarist's affinity for this genre. The varying sound quality is a little sketchy, especially on the concert tracks, but the sheer enthusiasm and joy infused in these grooves override any audio shortcomings. © Hal Horowitz /TiVo