…And here is the front cover for our forthcoming new ‘Quiet Storms’ album. 🙂
A wonderful photo of Horton Tower in the snow taken by renowned photographer Roger Holman in 1960s. Already familiar to many of my dear friends, we just thought it would make a great album cover and is totally in keeping with the atmosphere and vibe of this new album.
Inner artwork, courtesy of the rather lovely Paul Tippett, and other details will be revealed soon.
Here’s hoping I’m only one of millions who download this rather–not surprisingly–excellent version of “Empires Never Last,” recorded with a full orchestra. Very nice. Very nice, indeed. These guys never cease to surprise and delight me.
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)
Richelieu’s Prayer (1990/2012)
Painted Lady (1985/2014)
Bug Eye (1997/2014)
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.
Galahad, SOLIDARITY: LIVE IN KONIN (2015). Tracks: Salvation I and II; Guardian Angel; Empires Never Last; Secret Kingdoms and Secret Worlds; Singularity; Beyond the Barbed Wire; This Life Could Be My Last; Sleepers; Guardian Angel (reprise); Painted Lady; Seize the Day.
Birzer rating: blissfully stunned.
Sheesh. What to say? What to write? Today is the release date of Galahad’s latest live album, SOLIDARITY: LIVE IN KONIN. As with all live albums, of course, these are songs that had been perfected in the studio and on the mixing boards. Our ears become rather use to these things of perfection. And, certainly, few modern prog bands sound as good as Galahad when it comes to the studio releases. It’s clear that the band comes together in amazing ways, all songs perfectly nurtured and engineered.
I wasn’t, however, quite sure how Galahad’s more recent music would translate live, though I know the band possesses a rather strong reputation as a live act. As I understand it from my British and European friends, this comes from 1) the tightness of the band; and 2) the rather natural showmanship of Stu Nicholson.
Well, let me just state as bluntly as possible: SOLIDARITY is a gorgeous album. Not only does the music sound every bit as good as on the studio albums, but Galahad clearly has some fun playing around with live sounds. Additionally, the band has crafted a concert that has has much art to it as any placement of the tracks on a studio album. That is, SOLIDARITY sounds like something beautifully crafted as an album, in and of itself. It’s akin to a brand new studio release. The positioning of tracks allows the band to present a long and relatively coherent story. The placement of “Guardian Angel” toward the beginning and the end of the concert But, most of all, it’s Nicholson’s voice that stands out on SOLIDARITY. If anything, he sounds even better live than he does in the studio! And, this is about the highest praise I could give any vocalist.
The prog rock world is not only different from what it was a decade ago, but it’s also significantly different from just two years ago. Galahad has made its own style of music since 1985, and the band has continued to hone that sound in vastly creative ways.