REWRITING RORY

One of the highlights of 2023 was the release All Around Man – Live in London, which gave a powerful insight into the quality of Rory’s performances on his December 1990 UK tour. To continue our celebration of the album, the third instalment of our On the Road series features first-hand fan testimonies from other concerts on the tour. These testimonies were all originally published in the Swiss fanzine Deuce.

Nottingham Rock City, 19 December 1990

When the newsletter dropped on the doormat from our new leader with the Rory tour dates, it took only a couple of phone calls (one to a friend who has a car) to decide on which venue to go to and then onto the booking office to secure our tickets, which happened to be at Nottingham.

Since we’ve never been to Nottingham, we sent off a little earlier to have a look round, especially at the record shops and to sample the local hostelries before making our way to Rock City in anticipation of a good concert.

After a decent solo blues guitarist support act, Rory was due to appear on stage at 10.30pm to a large number of appreciative fans waiting to absorb music to their ears which turned out to be for two solid hours. SHEER BLISS.

Ten thirty on the dot and Rory came on stage and kicked off with ‘Continental Op’ to be followed by ‘Kid Gloves’. The sound was good and loud but not distorted and every number came over well to the great enjoyment of the fans. There were not many shouts for old numbers which must say something for the strength of the recent material. ‘Tattoo’d Lady’ was played to great delight of the crowd. Other numbers included (but not necessarily in the correct order) Loanshark Blues, Heaven’s Gate, Walkin’ Wounded, Slummin’ Angel, Out on the Western Plain and other acoustic blues (not sure of their titles), Shadow Play, Moonchild (first encore) and Follow Me.

All in all, a very solid two hours performance from Rory, giving it all he’s got. Gerry McAvoy totally absorbed and enjoying every moment (and when has Gerry been seen to be not enjoying playing on stage).

Brendan O’Neill and Mark Feltham also performed beyond their call of duty, giving an overall one hundred per cent.  A totally enjoyable night had by all and was very impressed with the Rock City venue and would return to see Rory play there again.

Brian Navier

International 2, Manchester, 20 December 1990

The International 2 is one of Manchester’s largest clubs on the concert circuit and usually plays host to up and coming bands. It is therefore always a treat when a big name choses to play here. It has a warm friendly atmosphere and is a change from the formal coldness of some larger venues. Rory is no stranger here. He has played here in 1987.

The hall was full to capacity with a good cross section of fans of widely different ages. One lad with his father was no more than eight years old.

However, by 10.30pm, Rory was still nowhere to be seen and the gathered hordes who had been patiently waiting were now growing restless. “Rory, Rory, Rory,” they chanted and anyone who crossed the darkened stage was greeted with boos and whistling.

But at 10.45pm, Rory and his band took to the stage to rapturous applause and ripped straight into ‘Continental Op’ followed by ‘The Loop’ featuring Mark Feltham on harmonica.  Next came ‘Mean Disposition’ and ‘Don’t Start Me Talkin’.

Rory then teased us with a lingering intro which gets you wondering just what he will launch into, a little more teasing then straight into the old favourite ‘Tattoo’d Lady’. Then from the old into the new with ‘Walkin’ Wounded’ from the Fresh Evidence album. This number featured some fine two finger tapping (which for the benefit of the younger fans, Rory was doing while Steve Vai was still learning chords!). ‘Kid Gloves’, another new one was followed by one of my personal favourites ‘Moonchild’. At this point, Rory changed guitar and played some nice slide work on ‘I Wonder Who’, getting the most out of the Fender Telecaster.

The rhythm section of Gerry McAvoy and Brendan O’Neill was watertight and never missed a beat, with Gerry’s bass really coming through strong for a rip-roaring rendition of ‘Shinkicker’. At this point, I thought Gerry had the edge and demonstrated what a powerful player he is. I could feel his bass reverberating through the solid floor, coming up my legs and rattling my kneecaps.

Another guitar change, this time to acoustic (it looked like a new single cutaway Gibson, although I could be mistaken). ‘Out on the Western Plain’ was greeted with respect as the captivated audience watched and listened in silence to the master at work and only daring to make a noise when Rory invited it. His finger style of playing on this particular number is a difficult one to master, example, hold plectrum between thumb and first finger and pick bass notes E, A, D, then pick top three strings G, B, E with remaining three fingers – TRY IT. Rory makes it look so easy.

After thunderous applause, Rory had a quick tuning adjustment to make before treating the gathered disciplines to some nice slide work on ‘Mean Ole Walking Blues’, with some tasteful interplay with Mark Feltham’s harmonica.

Back to the Telecaster now for ‘Ghost Blues’ from the new album, then another guitar change to the trusty old Strat, a quick delve into the bag and out comes ‘A Million Miles Away’, another of my favourites. A quick thank you from Rory and the set was closed with ‘Shadow Play’. This was not enough. We had waited two years for this gig and we wanted more. After a minute or two, we got what we wanted – MORE. The band re-emerged for the first encore. Rory had dispensed with the jacket to reveal the traditional check shirt and gave us a long improvised ‘Messin’ with the Kid’, with Rory calling to the audience and the audience responding. By now, Gerry and Brendan were straining at the leash. First came a thunderous bass solo from Gerry, once again demonstrating what an awesome player he is.

To witness Gerry just going for it is truly incredible. Then came Brendan’s turn as he battered the drumkit as if his life depended on it. Once again, the band left the stage and once again returned for encore number two. Unfortunately for me, I missed the first number, but was back in time for ‘Bullfrog Blues’, a fitting end to a long evening.

The band played for one- and three-quarter hours and I must admit I have known them to play longer, but considering Rory’s recent illness and the fact they started late, and finished at 00.30am, I was not complaining and neither was anyone else. Rory and the band are like a vintage wine. They get better with age. Rory himself looked slimmer and fitter than at his last Manchester show in 1988. The band tread the knife between what seems to be improvisation or is it strict rehearsal? Whatever it is, they always seem to pull it off, but one thing is for sure

NICE ONE RORY, NICE ONE SON, NICE ONE RORY, LET’S HAVE ANOTHER ONE

Dave Warner

International 2, Manchester, 20 December 1990

Skeletal Crew were not a good support band for the Donegal born Irishman and his group. Although technically impressive, skilful guitar, strong bass and excellent drums, they verged on the Chris Rea-Dire Straits territory and were more candlelit supper than life-giving sustenance. Dave Tipton, on the other hand, was an excellent solo act, ringing the sort of slide guitar and having the powerful voice of a Tony McPhee (Groundhogs). Then the music ceased over the p.a.  and despite bellows for the main band, they didn’t appear. Eventually, the music started up again and we wondered if something was wrong, but when we were losing heart, Rory appeared on stage to the packed crowd. The man with the maple finish 1961 Sunburst Stratocaster played here three years earlier and the ex-Irish dance hall venue is standing only which suits the band. His previous appearance in Manchester was at the Palace Theatre in 1988, which is utilised for musicals, plays etc. and was not an appropriate choice. Anyway, now to the music.

‘Continental Op’ was the opener and it was true and strong. The voice was good and gutsy, but the solo stretched out a mite too long. The Dashiel Hammett inspired number is the sort of song which most modern rock bands don’t do and what makes the Irishman an interestingly if not always a poetic lyricist.  A tremendous back beat was set up by the drums of Brendan and the rhythmic bass of Gerry was particularly evident for ‘Heaven’s Gate’. On the Fresh Evidence album, the guitar solos really crackle and Rory didn’t disappoint, playing with emotion and feel. Then came ‘The Loop’. This featured interesting interplay between the harp of Mark Feltham and Rory who imitated each other’s licks to make a kind of big band sound.

‘Tattoo’d Lady’ followed. I think he’s played this number at nearly every gig I’ve seen him do since first catching the man circa 1973. The opening staccato sounds still send a shiver down the spine. As the mixing desk, pa and equipment were working well, the vocal and guitar were crystal clear. One wonders if the Cork reared musician had empathy with the lyrics, “I ain’t no fooling, when I say I had no schooling, I never heard that school bell sound.”  However, then came one of the two highlights of the gig for me. It was a striking rendition of ‘Walkin’ Wounded’, an intense number and there’s a feeling of pathos in the lyrics, especially with the words “I’ve been injected till I don’t feel a thing.”  Rory played some heavy licks on this and I heard echoes of the late Jimi Hendrix, plus the still alive and kicking Buddy Guy. ‘Moonchild’, one of the most mellifluous songs from Calling Card, the 1976 album followed, and this featured Rory pushing down with his forearm on the body of the guitar and playing notes on the neck to produce a cross between orthodox lead and feedback. There is a part of this song where he’s just about to launch into a solo where he does a tremendous burst of 7-10 minutes which really inspired.

Then came ‘A Million Miles Away’. It was for me the second highlight after ‘Walkin’ Wounded’. The long-studied intro of the Irish Tour release was dispensed with. At the end of the last verse, I’m sure the lyrics are, “Why am I still here, I just don’t know.” But Rory ab libbing sang, “I’ll have one more whiskey, then I’ll go.”  I wouldn’t swear to this, mind you.  The solos were kept simple, but stunningly effective and I think Gallagher’s best song lyric wise. The crowd joined in the chorus which made for a communal atmosphere. 

To be truthful, the crowd weren’t going mad which they should have been, considering the music the band were producing. If they realised that Rory had been a bit low health wise and were fortunate to be seeing him in such fine fettle, they might have displayed more enthusiasm. All of a sudden, the band departed, leaving Rory to pick up an acoustic guitar. Rory opened with the hardy perennial ‘Out on the Western Plain’ and there were some new licks to be heard. When he launched into that fast run he does, the crowd cheered. Then came the traditional blues number ‘Walkin’ Blues’ and it was a friendlier version than that done by Robert Johnson.  But then as far as we know, Rory hasn’t sold his soul to the Devil unlike the Delta blues man from the Mississippi. This number featured slide, lead and rhythm playing and stood out due to the Little Walter – Billy Boy Arnold type harmonica of Mark. He really did excel and Rory nearly matched with some interesting though not startling slide guitar.

The numbers which Rory followed the acoustic set with were ‘Ghost Blues’, ‘Messin’ with the Kid’, ‘Bullfrog Blues’, ‘All Around Man’ and ‘Tobacco Road’. It’s a harrowing story, ‘Ghost Blues’, and sounded much better live than on the album. This was due to the tremendous back beat set up by the lead man’s stalwarts. If my memory serves me well, the cultured harmonica of Mark Feltham featured on all these numbers and was particularly impressive on ‘Messin’ with the Kid’. Where while not sounding as mean and as dirty as Junior Wells, he certainly hit home. Rory impressed with John lee Hooker line riff he used on the boogie version of Bo Carter’s ‘All Around Man’.

I timed the concert at approximately one hour fifty-five minutes and it was full pelt all the way. Rory still seemed he could have done more, but personally speaking it was good enough to see him alive and kicking like the proverbial mule. I’ll just finish with this comment which may annoy some people. Isn’t it about time songs like ‘Bullfrog Blues’, ‘Messin’ with the Kid’, ‘Tattoo’d Lady’ and ‘Out on the Western Plain’ were dropped? These could be substituted by more up to date songs as ‘Loanshark Blues’, ‘Double Vision’ et al. If my memory is correct, two songs the group did which I haven’t commented on are the Muddy Waters numbers ‘Mean Disposition’ and ‘I Wonder Who’.

John Christie

To read more on this tour, check out our post earlier this year on All Around Man – Live in London.