Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes.
Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever…
Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. Digitally remastered edition of the Irish guitar legend's 1976 album. Rory's eighth solo album, Calling Card was recorded during 1976 at the famed Musicland Studios in Munich. All of Rory's previous releases had been self produced, for this album he was keen to find a producer who had an affinity with traditional Rock values but who was open to new ideas. Roger Glover, Deep Purple's bassist, offered his services to Rory, seeming to be a perfect candidate to produce the album. The band, Gerry McAvoy on bass, Lou Martin on keyboards and Rod de'Ath on drums added the final element to the 'creative' mix. In the three years they had been performing together they had grown into a formidable band.
Wildwood Calling marks Ramsey's first all-instrumental album in a 30+ year career as an iconic guitar player. For those who might recognize Bo Ramsey by his association with artists like Lucinda Williams, Greg Brown, Kevin Gordon, Pieta Brown, Charlie Parr and others, his new music is the perfect introduction to someone who always listens and plays with his own sonic vision in full motion .Not surprisingly, the list of Ramsey’s accolades is long: including Grammy-Award Winning Guitar Player, 2 Time Grammy Nominated Producer, Iowa Rock & Roll Hall of Famer and Iowa Blues Hall of Famer. But above all, Ramsey is a proud card-carrying member of his own hall of fame, which is the one where he chases the sounds in his head and his heart. He is always looking for a way to wrestle them into a recording so he can share that love of music with friends and strangers alike. Wildwood Calling is an album for the ages, and the perfect calling card for anyone with an interest in hearing the past, the present and the future rolled into one.
If he were so minded, Jordi Savall might hand copies of this CD out to new acquaintances as the musical equivalent of a calling-card. True, he appears here only in the guise of soloist, whereas a more complete portrait would need to include samples of his work as director and conductor; but as an illustration of the range of the viola da gamba, this generously filled disc is exemplary. And although the calling-card might not be handmade, it is the nearest thing to it, since Alia Vox is Savall’s own, newly established label.
After releasing two albums in 1973 and a live, contract-fulfilling disc in 1974, Gallagher returned rested and recharged in 1975 with a new record label, Chrysalis, and a band with almost three years of hard touring under their belts. With its attention to detai, Against the Grain sounds more practiced and intricate than most of Gallagher's previous studio discs, but still includes some of his most powerful rockers. The supercharged "Souped-Up Ford," where Rory howls and wails, with his voice and smoking slide, and "All Around Man," an urgent blues rocker that begins with Gallagher screaming and crying together with just his electric guitar until the band kicks in with a stop-start blues rhythm, are two of the definitive moments. "Bought and Sold" adds congas to the mix to bring a more rootsy and even jazzy feel to Rory's table. But it's on the acoustic tracks where the guitarist and his band really lay into the groove.