Galahad is a band that knows where it’s been, where it is, and where it’s going. I love this. But, then, I love Galahad. And, so should you.
For the latest release, When Worlds Collide, Galahad has re-recorded a number of its older tracks and meshed them with the more recent ones in a wonderful and engaging two-volume set. In existence now for thirty-one years and with most of its original members still members (amazing; can you imagine saying the same thing about, say, Yes?), Galahad is neither shy nor cocky, just happily content. They never wanted to be rock stars, puppets of some record label, or the playthings of some marketing firm.
They just want to be Galahad. And they do it with such grace. That grace finds its way into their lyrics, their music, and their very presentation. If you forced me to make a comparison of the band, I would suggest imagining Peter Gabriel and Tony Levin playing with Ultravox and then progging it up to 11.
Here are the tracks and the dates (original and re-recorded):
- Lady Messiah (1985/2015)
- The Chase (1988/2015)
- City of Freedom (1986/2015)
- Chamber of Horrors (1990/2015)
- Dreaming From the Inside (1985/2015)
- Room 801 (1990/2015)
- Ocean Blue (1996/2015)
- Don’t Lose Control (1990/2015)
- Exorcising Demons (1992/2015)
- Karma For One (1997/2015)
- Empires Never Last (2006/2014)
- Sleepers (1992/2012)
- Richelieu’s Prayer (1990/2012)
- Painted Lady (1985/2014)
- Bug Eye (1997/2014)
- Singularity (2012)
- Guardian Angel (2012)
- Seize the Day (Single mix) (2012)
- This Life Could Be My Last (2006/2014)
As is obvious from the above track list and the accompanying dates of original recording and the re-recording, the band has been re-creating its sound for years now. All to the good. Even the older tracks—regarded as “neo-prog” by the press at their release feel much more dynamic and more “Galahadian.” Just as a test, I played several of these tracks—all from different releases—in succession to get a feel for just how different When Worlds Collide. The audio quality is simply amazing. It always has been, but with all of its confidence and just pride in being in existence for over three decades, Nicholson and Co. give us everything they have with When Worlds Collide.
Sadly, I didn’t encounter the music of Galahad until Lady Alison introduced the band to me in 2012. Since then, I’ve been hooked. I own the CDs, I own the authorized band biography, and I consider the lead singer, Stu, a friend and ally.
Whether you’ve loved the band for thirty-one years or if you’re reading about them for the very first time right here, right now, do yourself a huge favor: purchase When Worlds Collide. It’s a delight for the ear, the mind, and the soul.
So proud to have two progarchists as a part of this. Lady Alison and yours truly–BB
From Professor Geoff Parks: At last I can reveal a closely kept secret. A while back I volunteered to put together a programme for the band’s upcoming Kings Place concerts. To my delight that offer was accepted and early in June I sent my efforts on to Greg et al. for approval.
The programme is 24 A4 pages in full colour. It includes profiles of the members of BBT and their support staff, equipment lists and a number of articles that should be of interest to passengers, including a couple of specially commissioned pieces by Alison Henderson and Bradley Joseph Francis Birzer of this parish.
The programme will cost a very reasonable £5.
The section containing the band profiles has been cunningly designed to include convenient spaces for the collection of autographs.
You can see the front cover below.
If you have any free time today, check out the excellent symposium re: the re-release of a number of Yes albums over at the Dutch Progressive Rock Page. DPRP is always great, but this is spectacular, even for their very high standards.
Andy Tillison, Arjen Anthony Lucassen, and David Elliott’s guest reviews are especially good. Not surprisingly.
And, our own lovely progarchist, Lady Alison, also contributes rather lovingly. Lovely, lovingly. Lots of love.