ler totalmente Rory Gallagher - The Later Years (English Edition)

Rather than a traditional biography, Rory Gallagher - The Later Years takes the format of a series of essays. It consists of six core sections (‘In the Studio’, ‘On the Stage 1985-1991’, ‘Introducing the New Rory Gallagher Band’, ‘On the Stage 1992-1995’, ‘Ireland’, ‘Rory in the 21st Century’) in which eighteen chapters are grouped together; however, each chapter can be read independently. Although the book’s focus is squarely on 1985 to 1995, occasionally it also encompasses important earlier achievements in the 1980s that have been overlooked in previous works on Gallagher. Section 1 looks at Gallagher’s three final studio albums: Jinx (1982), Defender (1987) and Fresh Evidence (1990). It also covers his session work and collaborations between 1985 to 1995. Section 2 covers the period when Gerry McAvoy and Brendan O’Neill were members of the Rory Gallagher Band. It recounts Gallagher’s tours of Hungary and Yugoslavia (1985), Spain (1986) and the United States, Australia and Japan (1991), as well as headlining performances at major European festivals. Section 3 provides the first full account of Gallagher’s final band members (Richard Newman, David Levy, and Mark Feltham), as well as occasional guests. Section 4 tackles the last four years of Gallagher’s touring history including The Bonn Blues Festival (1992), the Montreux Jazz Festival (1994) and the final tour of 1995. Section 5 is dedicated to his many musical achievements in his homeland, including his “comeback” show at the Cork Opera House in 1987, his 1988 Irish Tour and his involvement with major Irish events and festivals, such as Lisdoonvarna (1983), Self Aid (1986) and Rock on the Lough (1989). Also the Temple Bar Blues Festival (1992)―one of Gallagher’s crowning achievements―and a number of important 1992-1993 shows in Cork, including Lark by the Lee, Everyman’s Theatre and the Regional Technical College Arts Festival. The book concludes with an epilogue reflecting upon Gallagher’s legacy in the 21st century, particularly amongst a new generation of fans.

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