Rory Gallagher
Against the Grain

THE REVIEW

After the magnificent success of "Irish Tour '74", a new chapter in the intriguing career of the genius native of Ballyshannon, known as Rory Gallagher, officially begins. He signs a lucrative contract with Chrysalis Records and embarks on a new musical journey, particularly towards Hard Rock, while still embracing strong Blues, Jazz, and Folk influences.

The result of this new creative process is, therefore, this Against The Grain (a title used provocatively to refer to the music industry's logic of the time, which he repeatedly rejected until his death) from 1975. With this album, Rory, along with the band that had accompanied him since the excellent "Blueprint" of 1973, decides to imprint his already notable musical style even further, offering a musical proposal that, as usual, is quite varied and rich with interesting stimuli.

It kicks off with the classic Hard Rock of "Let Me In" where Rory's guitar is always the undisputed protagonist that then immediately makes way for the fascinating "Cross Me Off Your List," one of the best tracks on the platter, where the combination of Jazz, Blues, and even a hint of Latin Rock à la Santana, particularly stands out, as evidenced by Rory's guitar solos.

"Ain't No Good" is another high-level piece that has the flow of a beautiful ballad, only to quickly rise thanks to the usual top-notch performance of Rory's ever-unbeatable Stratocaster.

With "Souped-Up Ford," dedicated to the Ford driven by Rory during his historic sessions with a certain Muddy Waters, and the cover of Bo Carter (to whom the song "The Mississippi Shakes" will be dedicated in "Photo-Finish" from 1978) "All Around Man" returns the slide guitar to the forefront, with Rory once again in a state of grace.

Another quite successful cover is "I Take What I Want," by Sam & Dave, which pairs with the Country/Blues of "Out On The Western Plain," written by the legendary bluesman Leadbelly, where the usual Rory does not disappoint at all.

"Lost At Sea" is another captivating Rock/Blues track where his highly underrated talent as a songwriter shines through. It also offers another excellent demonstration of his undeniable guitar skills.

At the end of his adventure with the "Taste" they are dedicated to, "Bought And Sold," another well-crafted piece of Folk/Rock extraction, and "At The Bottom" closes an album considered certainly "transitional" compared to other high-level musical releases such as the excellent "Calling Card" a year later. However, it confirms once again the absolute value of a musician always faithful and consistent with the line, as was our beloved Irish heart (cit.), indeed.