From My Collection #9: Rory Gallagher – Against the Grain

Welcome to another edition of From My Collection. Today, we continue the St. Patrick’s Day celebration by revisiting a classic album from one of Ireland’s finest, Rory Gallagher. Despite achieving guitar god status in his homeland, Gallagher never made it past being a cult act stateside. Things like this are why other countries lament our stupidity. The fact that we can fall hook, line, and sinker for a hack like Eric Clapton, while being oblivious of the talents of a man who inspired Glenn Tipton, Gary Moore, AND Brian May to pick up an axe, is nothing short of tragic. If this essay introduces just one person to the glorious guitarwork of Rory Gallagher, then mission accomplished. If you’re already familiar, sit back, relax, and enjoy this look back upon his fifth studio album, Against the Grain.

When Rory Gallagher entered Wessex Studios in London to record his fifth album, Against the Grain, he could do no wrong. Hot off the heels of a global jaunt to promote his previous effort, Tattoo, he was adored by tens of thousands. The one time frontman for power trio Taste had finally carved a name for himself as the world’s premiere bluesman. Each Gallagher album built upon the last, but without drastically deviating from the predecessor’s formula. This album was no different. Consisting of 7 originals and 3 covers, there’s few genres that aren’t explored on Against the Grain.

The album opens with an upbeat hard rocker, “Let Me In”. If there’s one thing Rory Gallagher knew how to do, it’s how to kick off an album and a party. Ironically, this song sounds more in line with the rowdy rock n’ roll Ted Nugent would become known for in the latter half of the decade. I can’t help but think Gallagher influenced him as well. Being the versatile genius that he was, Gallagher does a 180 on “Cross Me Off Your List”. Much like David Coverdale and Glenn Hughes in Deep Purple, Gallagher was not afraid to show off his R&B side, especially on this song which sounds like a lost Stevie Wonder original.

“Ain’t Too Good” switches gears yet again. This melancholic ballad explores a love that has gone south. Consider it Gallagher’s answer to B.B. King’s “The Thrill is Gone”. The song’s closing guitar solo comes straight from the soul. It stands in stark contrast to the hopped up energy of “Souped-Up Ford”. I’ve never driven a “Souped-Up Ford”, but if I did, this is the song I’d want blasting through the speakers as I tear up the freeway. Songs like this is what makes it so hard to believe Gallagher was an Irishman. If you blindly played this for somebody, they’d likely think he was born and raised in Texas alongside Johnny Winter. Side A then closes with a gutsy blues rocker, “Bought and Sold”. Lead guitarwork like this makes the crossroads myth that much more believable. How could a mere mortal boast such power through six strings attached to a piece of wood?

Side B opens with the first of three covers, “I Take What I Want”. Originally performed by legendary soul duo Sam & Dave, Rory gives this 60s classic the hard rock treatment. “Lost at Sea” is a Gallagher original which opens gentle, only to lead into a meaty riff that gives us the feeling of being, well, “Lost at Sea”. “All Around Man” is Gallagher’s scorching electrified arrangement of Bo Carter’s 1931 blues standard. Gallagher must’ve had a grand ol’ time exploring all these old songs and reimagining them for a brand new generation, thus sparking the fire for that generation’s interest in the blues. Against the Grain closes on a folksy note. Gallagher busts out the acoustic guitar for a rendition of Lead Belly’s “Out on the Western Plain”, before closing out with the folk rock of “At the Bottom”. This original composition gives serious Dylan vibes in both the arrangement and lyrics. Think 70s Dylan when the beatniks had once and for all given up their crusade against amplified instrumentation.

I don’t consider Against the Grain to be Gallagher’s finest solo outing, but then again, I’m not sure which of his albums I’d label that title. Perhaps Calling Card (1976) because it rocks so hard (hey, that rhymes)? The amazing thing about Rory Gallagher is there’s not a single full length of his that can even be labelled “mediocre”, let alone “bad”. There’s no going wrong with his catalog. This was just the album I felt like highlighting on this here St. Patrick’s Day. Rory Gallagher embodied the unrelenting spirit of the Irish, and still does posthumously. He stuck to his guns until the end, even if it meant sacrificing commercial and financial gain. That, my friends, is the sign of a true artist. So the next time your normie friend falls for the jive of Clapton, put some Rory in his pipe. He won’t regret smoking it.