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NOTHING IS WRITTEN
Galahad were formed in 1985 and spent two years gigging extensively in the Dorset area.
In 1988, vocalist Stuart Nicholson auditioned as a possible replacement for Fish in Marillion, a job which thankfully he was not given. I say thankfully, because 'Nothing is Written', which marked the bands debut CD release, in 1991, is a really fine album from which Nicholson's contribution would have been greatly missed.
The album opens with 'Face to the Sun' which is subdivided into two parts.
The first of these is a slow, quiet introduction which has a very relaxed feel, with sounds of bird song and running water; lines of narrative laid over the music give this an unearthly quality that is brilliantly done. This is followed by a more upbeat section with plenty of pacey guitar and keyboard work, the vocals are crisp and clear, as indeed they are throughout the album, giving the impression that this is a band that wants you to hear what they have to say.
Following on from this is 'Chamber of Horrors (lament to 2211)', a song which proves that you can get plenty of tempo changes and a big sound into a relatively short period of time!
'Evaporation' is essentially a love song, albeit about love lost. There are certain similarities here to some of Marillion's earliest work, but this song still holds a style of its own. Then comes 'Motherland', opening with some very hard hitting guitar work which is quite oppressive and almost discordant - but which gradually gives way to a more melodic keyboard sound. It's not actually a bad song, but never seems to truly develop and consequently does not hold the attention until the closing section when the heavier guitar sound returns once more.
'Room 801' is a song dealing with alleged conspiracy surrounding the supposed sighting of UFO's - and whatever your views on the subject, the lyrics make for a good story. In fact, I could almost say too good
because, despite listening to this track a number of times, details of the actual musical content still manage to evade me. However, good use is made of narrative sections at both the start and finish of the
track, and the chorus of voices, providing some of the backing vocals, add to the effectiveness of the piece.
'Aqaba - A matter of Going' has a really nice eastern feel to the opening guitar passage, a feeling that permeates through the song. It develops well, and the keyboards and drums combine to produce a good
rounded sound. At the risk of upsetting some of the progressive fans, some of the keyboard/drum sequences are akin to Gary Numan on his more melodic tracks (yes he did write some - and very good they were too!).
'Bark in D Minor', at 45 seconds, is the shortest piece on the album. The name is a clear pun and although the piece is written by keyboard player Mark Andrews, it is very reminiscent of the classical works of
Bach. This short piece is played with a church organ sound and serves as an introduction to the next track, 'Legacy'. I really like this, and have to say that the sound is very reminiscent of Rush, even
down to vocal delivery. The guitar work is very well executed and there is a great bass line. The style continues into the next song, 'The Automaton'.
Most in evidence is the lyrical content, and the refrain is very catchy - but underneath, the guitar and keyboards are hard at work, as ever. 'Don't Lose Control' is, what seems to be, the obligatory ballad. Vocal content is more developed in this song and again full marks go to Roy Keyworth for his impeccable guitar work.
However, for me, the best track of all is saved for last in the shape of 'Richelieus Prayer' which, at 8:23, is also the longest track on the album. Lyrically, this is also one of the strongest pieces that I
have come across from Galahad.
The song has a subdued intro with piano and flute effects but, in spite of this, there is an air of menace and foreboding hanging over it, which is further accentuated by a drum roll and the use of the Mellotron. Nicholson's vocals are better than they have been on any of the previous tracks, he sings with a real passion, starting softly but building up with ever increasing intensity as the song progresses. The emotions let loose are comparable to Peter Hammill at his best, but the vocal quality is far superior. Midway through the song there are some harpsichord effects, from the keyboards, which are particularly effective - especially when contrasted to the faster pace of the following passage, where the vocals really let loose in a massive climax. The keyboards take up an almost classical theme accompanied by guitar and bass parts in an instrumental run off which closes the song. This is one of those tracks that I have to keep going back to, as there is something new to be found with each listening - but that holds true for the whole album!
Eight years on, it would be all too easy to say that the overall approach is somewhat typical of a progressive rock band from this period - but that is not really the case.
There are times when the music reveals some of it's influences, for sure, but even then it comes over as forceful and self assured rather than derivative. The compositions are strong, both in terms of lyrical content and production values, and this is a work that should stand up well to the test of time. On the strength of this album, and the more recent 'Following Ghosts', I have no hesitation in recommending Galahad as a band well worth listening to!
Simon 10 September 1999
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IN A MOMENT OF COMPLETE MADNESS
There is an oft quoted urban myth - unfortunately parroted by reviewers who probably latch on to one phrase of music and then base a whole review on it - that Galahad are just a bunch of Marillion sound alikes.
Now, although they do, occasionally, make a foray into the borderlands of that country; Galahad's music contains much variety and their influences are far wider. In fact, listen to the music they've produced through their career and you will hear more that is attributable to Rush than to Marillion.
'In A Moment Of Complete Madness' was a cassette tape sold at gigs from 1989. The five tracks from the tape form the first part of the CD which is completed by an additional three number which were re-recorded
especially for the album.
The core personnel of Galahad were, and still are, Roy Keyworth on guitars, vocalist Stuart Nicholson and Spencer Luckman on drums. On the first five tracks keyboards are played by Mark Andrews and bass by Paul
Watts or Pat McAnn. The remaining tracks feature Karl Garrett on keyboards and Neil Pepper on bass.
Slow synths are overlaid by the upbeat, insistent rhythm that raves through 'One For The Record', a song that is highlighted musically by some strong guitar playing - there's a great bit where a guitar riff rips
between the speakers and, elsewhere, spot the short Rush phrase! The song, about early Genesis, fairly bounces along and, towards the end, there're some lovely harmonies.
'Second Life' is a fast paced song with a very strong Rush influence. It has a full sound with the keyboards, especially, used to great effect.
A mini prog epic is found within the almost six minutes of 'Parade'.
The first section of vocals is set against sweeping synths and ever changing strong rhythms. Evocative synth melodies are interspersed with atmospheric drum sounds - think "talking drums" - before the beat picks up and the sound becomes fuller for the second vocal sector.
There're some lovely musical arrangements behind the vocals of 'Earth Rhythm'.
A pounding beat works away through the song and, scattered in amongst this can be found some little instrumentals gems ... listen to it loud!
'Lady Messiah (From Beyond The Sun)' is a somewhat heavier piece with the rhythm section providing a strong backbone. A song with several parts, each different from the rest - the best being, undoubtedly, the
last in which Stuart's voice rings out pure and clear over the strong keyboards and guitar work ... and indication of things to come.
The last three tracks were recorded at a later date than what has gone before.
'Painted Lady' is a short acoustic number with strong pointers towards what was to be Galahad's next venture, 'Not All There ...' A beautiful sweet song.
'The Ghost Of Durtal' is particularly remarkable for its fine instrumentation.
A strong melodic combination with a great hook fades into a deep, slow ambient sector which, in turn, gives way to the driving beat that leads to the final vocal denouement.
O.K., the keyboard phrase and vocals of the first two verses of 'Welcome To Paradise' are very reminiscent of a Marillion song - I'll give you that one!
But, get past that and the song develops with several changes of pace and some splendid work from Keyworth and Garrett who play different, yet complimentary, tunes at the same time creating a lush rich sound.
The tracks on this album - especially the first five - being taken from the beginning of Galahad's career, lack the musical sophistication and technical advantages available today. Yet, there're some fine tunes
that are well worth going back to.
Marisa 24th May 2000
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NOT ALL THERE
The Galahad Acoustic Quintet are vocalist Stuart Nicholson, Mark Andrews (keyboards and backing vocals), Roy Keyworth on guitars and Spencer Luckman on drums and percussion - all of theses being Galahad members at
the time - and Sarah Quilter (who has guested on Galahad albums since) playing flute, clarinet and sax.
Special guest on the album is bassist Neil Pepper, now a band member himself. 'Not All There ...' was recorded live with "just a few keyboard and vocal overdubs".
The CD begins with Nicholson's pure voice singing words from Tennyson's poem 'Sir Galahad'. The initial vocals are supported by very gentle spacey sounds. Gradually other instruments join in, creating a
pseudo medieval sound that is thrust into the present by the racing keyboards.
'Mother Mercy' has a much more familiar feel, with the accompaniment to the vocals being headed with some nice piano work.
The latter part of the song has some cracking vocal harmonies. This is followed by an instrumental, 'Club 18-30', which has a definite spanish flavour.
Gentle piano introduces the vocals on 'Dreaming From The Inside', a lovely song with a very catchy chorus. Another very lovely song comes next. 'Melt' has wonderful vocal harmonies, soaring orchestration
and just makes you ... melt! Keeping with the mood, 'White Lily' is a sweet piano piece written and performed by Mark Andrews.
I know that Galahad are often erroneously compared to Marillion, but 'Through The Looking Glass' is, in my opinion, the nearest they come to it. It's has a rich full instrumental backing that supports Stuart's
great vocals. Some pure sounding flute plays between the verses of 'Looking Up The Apple Tree', a song with a more folky influence. 'Shrine' is a short piece written and sung, unaccompanied, by Stuart -
and it's simply fabulous.
A complete change of mood from 'Legless In Gaza' which is an improvised piece by Mark, Stu, Spence and Sarah. This has a very eastern feel and Galahad have expanded this idea more recently.
Then in 'Iceberg' some really nice string sounds and woodwind glides along behind the vocal line.
Stuart's dulcet tones are given full rein in 'Where's There's All Of Nothing' and his vocals are underpinned by some delightful piano playing and Pete Townshend inspired guitar work. The album closes with 'Sir
Galahad (Scene Two)' which hearkens back to the first track, and is more of the poem set to music. This provides a charming end to a pleasing album.
O.K. this might not rock your socks off but it is a melodious album full of beautiful songs. Just sit down, listen and relax with this CD - it's perfect Sunday morning listening.
Marisa 27th February 2000
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SLEEPERS
There are two things I particularly like about Galahad. The first is Stuart Nicholson's distinctive voice which is strong, yet sweet, and has a good range. The other is Galahad's sense of adventure - they
are never afraid of trying something different. On 'Sleepers' they utilise a whole variety of moods, yet the album still has a cohesive wholeness.
The title track starts the album. This, the longest track on the album at over twelve minutes, is a somewhat quirky number which tells a story about the French Resistance during the war. A feeling of
tension is evoked by the introduction - which is given a period feel by the overlaying of a series of voices. The song moves between its sections smoothly - sometimes guitars and layered keyboards race along
to a strong rhythm; sometimes Nicholson's voice solos with virtually no back-up - there are so many permutations. So much is happening that it is almost indescribable - but it's great ... and I love it.
Track number two, 'Julie Ann', is a beautiful melodic ballad in which the higher notes of the chorus are echoed by the haunting keyboards. This, together with the touches of vocal harmony, make it truly
wonderful.
'Live And Learn' is a completely different animal. Instead of the soft sweeping melodies of the previous track, this delivers a much more precise sound that has a very Rush-like slant.
The somewhat bizarrely titled 'Dentist Song' reminds me a little of Queen's 'I'm Going Slightly Mad' with its partially spoken lyrics. There's a creepy nightmarish quality to the music towards the end as the
subject of the song asks "I'm sure he knows what he's doing ... Doesn't he?".
'Pictures Of Bliss' provides two minutes of pure pleasure. Nicholson's vocals are accompanied by just acoustic guitar and gentle keyboards - wonderful.
Part one of 'Before, After and Beyond' is chanted with no musical backing. Part two is very upbeat and heavily features the nimble fingers of Karl Garrett on keyboards.
A return to the nightmare feel in the disturbing story told in 'Exorcising Demons'.
The beginning of the song has Nicholson's pure voice set against the creepily haunting keyboards. Then the rhythm builds and the vocals become harder, whilst the feel of the music is harsher and uncompromising. In the final sector, the vocals are again softer, with piano accompaniment.
After the heartache of the last track 'Middleground' comes as a relief. This is very easy to listen to. Beautiful vocals and fabulous keyboards make this a triumph of melodic rock.
The final track, 'Amaranth', is a number in the best tradition of prog rock - in fact, it's the nearest I've heard Galahad's sound come to Yes.
The vocals are, as ever, immaculate . There is some fabulous guitar work from Roy Keyworth and the keyboards flow through occasionally coming to the fore front. Then a complete change as a whole variety of soundbites bombard the listener over a driving beat, before the keyboards take over again. This keyboard sound builds towards, and supports, the last wonderful vocal section ... and on to the magnificent crescendo that concludes the album.
This is a great album that almost, but not quite matches up to the band's latest CD, 'Following Ghosts'. That said this still, in my estimation, far surpasses, in
both content and quality, much of what passes for prog rock these days.
Marisa 3rd November 1999
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CLASSIC ROCK LIVE
It's never an easy task to review a live album because so much of the atmosphere of a live show is reliant on presentation. There are so many things that can and do go wrong live, that it is often impossible to
gauge whether the final product is a fair representation of a band's performance or not.
Well that's not the case here; the sleeve notes proclaim, quite firmly, that not only are there are no overdubs on this recording, but also that the audience you can hear is real too. This may be a strange thing to say but there are some 'live' recordings out there with the wrong audience sound taped on to them by over zealous producers trying to add that extra atmosphere!
This particular show was recorded at the Herringthorpe Leisure Centre, in Rotherham, for the CRS in April 1995 and the set carries a fair cross section of Galahad's material at the time.
The CD opens with the title track from 'Sleepers' (1995). This starts with the slightly ominous overtones as the keyboards start things flowing, then the 'heavenly choir' voice effects are added before the guitar and drums cut in more heavily to really drive the whole thing forward. I have not had much chance to really listen to the 'Sleepers' CD, but this track was not one I was initially keen on, due to it's slightly quirky nature. On this, live version, however it comes across very well with Karl Garrett's keyboards and Stuart Nicholson's vocals both coming over strongly, injecting a sense of theatre into the piece.
This is followed by 'Aqaba' from 'Nothing is Written' (1991), which I have reviewed earlier. The opening guitar part is superb, conveying well that sense of Eastern promise! Driving bass is provided from
Neil Pepper and there are some nice improvisations from Stuart. 'Live and Learn', another track from 'Sleepers', is a more typical of the progressive rock genre with changes of tempo and mood. The excellent
keyboard playing is enhanced by the inclusion of some superb piano work, which builds up in the latter part of the track and gives a superb finish.
Stuart announces 'The Chase' as being an older song (I don't have any other recording of this one). It starts quietly; Stuart's voice sounds clear and pure, and there are some mellow keyboards in the
background.
Bass and guitars soon join in, as do the drums, but the peaceful, almost serene, atmosphere is still maintained for a while longer. Shortly the chase proper begins as the pace picks up and the guitar really sings out its part. Spencer Luckman on drums drives the rhythm section along without ever becoming overpowering. A great performance of a really good song!
'Ghost of Durtal' is taken from the album 'In a Moment of Complete Madness' (1993) and, again, hats off to Roy Keyworth for some really inspiring guitar work throughout the track.
After a fairly slow opening the track picks up pace, and there is no stopping the man until we shift to the eerie other worldly sounds of the keyboards in the mid section of the track. After a short vocal interjection the pace briefly picks up again before the strong bass line takes the lead and the audience, obviously loving every moment, are happy to clap along. The final vocal section is very uplifting and make a perfect end to the track.
The last three tracks are all from 'Nothing is Written' and are well performed. 'The Automaton' is very close to the original version, apart from a really wicked bass solo from Neil. A couple of times
Stuart seems to be having problems with some of the higher notes, but he carries it off well all the same.
Since I first heard 'Richelieus Prayer' it has been my favourite Galahad track, and they have long used it as a set ender. Again Stuart's voice cracks a little on some of the more emotive higher notes, but he more than makes up for this with the strength of the performance and some great improvisation at the end of the track. All the aspects of this song that make it so good as a studio track work in a live environment making this a real classic. As an encore the band play 'Room 801', again a faithful rendition and a good high note to finish on.
So what's the final verdict?
There are a few mistakes in the performance - it has to be said - but these do not detract from the obvious ability of the band to play a good tight set. Furthermore, due to other problems on the day there was no time for a sound check, and this too should taken into account when making any assessment. Perhaps some parts of this recording could have benefited from tidying up a little, but the album set out to portray Galahad Live and this it has done, there is no hiding behind studio techniques here. When all is said and done Galahad come out of this with flying colours and I would recommend this CD for new fans and old alike.
Simon 17 October 1999
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