The ’60s may have been the most musically significant decade in the history of popular music, but very few countries were represented then or in the years that followed. Fronted by Van Morrison, Them emerged from Ireland mid-decade and became popular in Europe, but were little-known in the U.S. Their countrymen in Thin Lizzy didn’t assemble until January of 1970, and while Eric Bell recorded a handful of historic riffs, Ireland’s first guitar hero was Rory Gallagher.

Lead guitarist in the Cork-based power trio Taste, Gallagher was just 15 when he began playing with the Fontana Showband in 1963 – the same year he acquired the used ’61 Stratocaster that has since become a legend unto itself. In ’66, Gallagher teamed with bassists Eric Kitteringham and drummer Norman Damery to form a blues-rock trio they dubbed Taste. They gigged for almost two years before splitting, after which Gallagher recruited bassist Richard “Charlie” McCracken and drummer John Wilson to create the band that released its self-titled debut album on Polydor.

Recorded in August of ’68 at De Lane Lea Studios, London, Taste was produced by Tony Colton, lead singer for Heads Hands and Feet (whose guitarist was Albert Lee). No-frills to the point of sounding primitive, its music was nonetheless impressive – imagine the Who paying homage to American bluesmen. Songs like “Blister on the Moon” and “Born on the Wrong Side of Time” crank with anthemic power chords and snarling lead lines that cut through like a laser.

Greg Martin, co-founder and lead guitarist in the Kentucky Headhunters, grew up listening to rock and blues in the ’60s, and recalls how Gallagher and Taste became an immediate influence on his style.

“What stood out to me about Rory and Taste was their rawness, aggressiveness, energy, and honesty,” he said. “Even as a trio, they weren’t merrily copying Cream or The Jimi Hendrix Experience. They had their own slant. I absolutely loved Rory’s playing from the start; he was inspirational. Once I got the first album, I was hooked.”

McCracken’s playing style was equally notable. While most Fender players removed the chrome covers from their basses, McCracken used the middle one to rest his hand while picking near the neck joint or between it and the bridge, often switching back and forth during a song. On “Dual Carriageway Pain” and “Blister on the Moon,” he plays rapid-fire riffs, often going note-for note with Gallagher.

Blues songs on Taste included a cover of Lead Belly’s “Leaving Blues” (with Gallagher playing slide) along with heavy blues-rock renditions of “Catfish Blues” and “Sugar Mama.”

Martin, a consummate tone freak, recalls the impression made by the raw sound of Gallagher’s Strat.

“He was a big influence. His tone was amazing, and I loved his use of pinch harmonics. He may have been the first guitarist I heard do that, and I quickly grabbed it as one of my tools.”

Also interesting is “Hail,” on which Gallagher accompanies himself on acoustic, singing while picking the melody. The bombast of “Catfish” is followed by a whimsical cover of Hank Snow’s “I’m Moving On” (with Gallagher on a resonator) that comes across like an afterthought.

After finishing the album – but before it was released – Taste opened for Cream durinw g its final concert at Royal Albert Hall on November 26, 1968. Others on that bill included Yes and Jon Hiseman’s Colosseum.

Taste’s second album, On the Boards, delivered a more-diverse set with blues, blues-rock, a bit of jazz (“It’s Happened Before, It’ll Happen Again” and the closer, “I’ll Remember”), and timely folk-rock (“See Here”). Recorded in late ’68, it wasn’t released until January 1, 1970. In that gap, Taste gigged in the U.S. as an opener for Blind Faith. That August, they delivered a strong set at the Isle of Wight festival, after which differences in musical direction and managerial problems pushed them to dissolve by year’s end. In ’71, Polydor released Live Taste and Live at the Isle of Wight.

Gallagher went on to forge a respectable solo career that has influenced three generations of guitarists. A true “player’s player,” he died June 14, 1995, following a liver transplant. He was just 47.

“Rory radiated charm and charisma,” Martin noted. “Watching video of him performing with Taste or solo, you could tell he absolutely loved what he did. There was nothing artificial or contrived in what he played; it was emotionally charged music at its finest. Any student of blues and rock guitar must listen to the first Taste album, then enjoy the journey through his entire catalog.”

This article originally appeared in VG’s December 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.