Rory Gallagher
- Thread starter Sérgio
- Start date
Walks Backward
Well-Known Member
There were so many guys playing back then that I had never knew of him. Heard the name I think but never heard him until mentioned here.
OP
Sérgio
Ambassador of CaliZilian Affairs
I'm a total fanatic!
I heard Taste way back in the 70's, but the one album that got me was Rory's live album and this tune, incredible tone and phrasing. Rory will always be missed.
jtcnj
Ambassador of the Crossroad
i must appraise a generous sample of this fine vintage offering.
Most likely whilst sloggin' down some domestic beer of no particular distinguish.
Off topic (as I am wont at times) but mentioning pickup feedback squeal reminded me of the song Squealer and now I gots me a loud hankerin' for some AC/DC, the real vintagey Bon Scott kind 'o riff raff of which I belong so well.
Most likely whilst sloggin' down some domestic beer of no particular distinguish.
Off topic (as I am wont at times) but mentioning pickup feedback squeal reminded me of the song Squealer and now I gots me a loud hankerin' for some AC/DC, the real vintagey Bon Scott kind 'o riff raff of which I belong so well.
Which begs to question, who is the greatest now????
After Rory passed, to me, it was Gary Moore.
After Moore passed, no one else really grabbed me....
After Rory passed, to me, it was Gary Moore.
After Moore passed, no one else really grabbed me....
chilipeppermaniac
Ambassador of Decibels
As I see it Robert, there doesn't need to be a "best" But in my case, there are ones I particularly enjoy and many that no one has ever heard of outside of local folks.
One is my buddy, Ron Zebron who used to live in Baltimore but now is in FLA. Next is a fella named Todd Miller. Also from Baltimore.
One is my buddy, Ron Zebron who used to live in Baltimore but now is in FLA. Next is a fella named Todd Miller. Also from Baltimore.
Did you try to avoid layering tracks and go for live as much as possible?
Yes, in general. I also went for a strong rhythm guitar part in tracks like “Middle Name” and “King of Zydeco” and “Walkin’ Wounded.” Instead of the Strat, for instance, I’ve got this small Chet Atkins Gretsch which is great for rhythm with fairly heavy strings – not the Eddie Cochrane model, the Les Paul-shaped one, the little orange one. That was great for rhythm. And I used a Les Paul Junior on the rhythm part of “Kid Gloves” and also the rhythm part of “Walkin’ Wounded.” Even though I’m identified with the Strat and I like the Strat, I think if you have Strat rhythm and Strat lead, except in a Hendrix situation, it can be a little bit one-dimensional. So it’s nice to have an alternative guitar to broaden the sounds. Even a Telecaster sounds good for rhythm and then Strat for lead, depending on the track.
Yes, in general. I also went for a strong rhythm guitar part in tracks like “Middle Name” and “King of Zydeco” and “Walkin’ Wounded.” Instead of the Strat, for instance, I’ve got this small Chet Atkins Gretsch which is great for rhythm with fairly heavy strings – not the Eddie Cochrane model, the Les Paul-shaped one, the little orange one. That was great for rhythm. And I used a Les Paul Junior on the rhythm part of “Kid Gloves” and also the rhythm part of “Walkin’ Wounded.” Even though I’m identified with the Strat and I like the Strat, I think if you have Strat rhythm and Strat lead, except in a Hendrix situation, it can be a little bit one-dimensional. So it’s nice to have an alternative guitar to broaden the sounds. Even a Telecaster sounds good for rhythm and then Strat for lead, depending on the track.
What was it like working with Albert King on his Live LP?
The situation was, he showed up in Montreal and it was all arranged to be recorded. His second guitarist left him on the day, so he asked me himself, would I stand in? I said n
o, because his material is quite arranged – it’s not loose like Muddy’s, you know? He’s a more intense guy than Muddy, I thought, not as friendly. I hate to say it, but I was forced to sit in and just fill out as best I could. There was no rehearsing, no nothing. You just had to guess what chord, what key he was in. Any time I’d ask him what key it was, he’d say “B natural,” and he’s playing in minors. His tuning is like Em6 or Em7, as far as I know, back to front, so I just had to busk it. But it was an experience! [Laughs.] I got over it.
The situation was, he showed up in Montreal and it was all arranged to be recorded. His second guitarist left him on the day, so he asked me himself, would I stand in? I said n
o, because his material is quite arranged – it’s not loose like Muddy’s, you know? He’s a more intense guy than Muddy, I thought, not as friendly. I hate to say it, but I was forced to sit in and just fill out as best I could. There was no rehearsing, no nothing. You just had to guess what chord, what key he was in. Any time I’d ask him what key it was, he’d say “B natural,” and he’s playing in minors. His tuning is like Em6 or Em7, as far as I know, back to front, so I just had to busk it. But it was an experience! [Laughs.] I got over it.
Do you use open tunings?
Yeah. I use the DADGAD tuning on “Out on the Western Plain,” the Lead Belly song. That’s one of my favorite tunings. That was supposed to be discovered by Davy Graham, a Scottish guitarist, and then it was used a lot by Bert Jansch and Martin Carthy, all great players in their different ways. I’ve been messing around with dropped D lately, which is taking down the bottom E and the top E. It’s quite nice. Open A is related to open G, and I use that a lot as well, putting on the capo.
What tunings did you use on the record for the slide tunes?
Let me see. Open G. Even though “Ghost Blues” is in A, the guitar was tuned to G. The slide on “Walkin’ Wounded” is just in standard tuning, which I can do. “Empire State Express” is open G. I think any other slide parts are in standard tuning, in the same way in which Earl Hooker could play chords and then go into the solo.
Yeah. I use the DADGAD tuning on “Out on the Western Plain,” the Lead Belly song. That’s one of my favorite tunings. That was supposed to be discovered by Davy Graham, a Scottish guitarist, and then it was used a lot by Bert Jansch and Martin Carthy, all great players in their different ways. I’ve been messing around with dropped D lately, which is taking down the bottom E and the top E. It’s quite nice. Open A is related to open G, and I use that a lot as well, putting on the capo.
What tunings did you use on the record for the slide tunes?
Let me see. Open G. Even though “Ghost Blues” is in A, the guitar was tuned to G. The slide on “Walkin’ Wounded” is just in standard tuning, which I can do. “Empire State Express” is open G. I think any other slide parts are in standard tuning, in the same way in which Earl Hooker could play chords and then go into the solo.
What is your favorite amp?
Good question! It’s a battle between the Vox AC30, which is my first amp, and the 4×10 Bassman Fender, although I love the little Deluxe Fender, which is nice as well. But I have played Ampeg VT-44s, which are very nice. Over the years I’ve used Marshall 50-watt combos in conjunction with a Fender or a Vox, and they’re very good for volume and bite. But the warmth of the Fenders and the character of the Vox are pretty hard to beat, so it’s somewhere in there.
Good question! It’s a battle between the Vox AC30, which is my first amp, and the 4×10 Bassman Fender, although I love the little Deluxe Fender, which is nice as well. But I have played Ampeg VT-44s, which are very nice. Over the years I’ve used Marshall 50-watt combos in conjunction with a Fender or a Vox, and they’re very good for volume and bite. But the warmth of the Fenders and the character of the Vox are pretty hard to beat, so it’s somewhere in there.