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OTHER CRIMES & MISDEMEANORS II
Track list: Dreaming From The Inside (5.49), The Opiate (4.54), Reach in to the Flames (4.56), Dreams of Tomorrow (4.06), GSX (3.20), Truth of You (6.27), Aqua Nimue (2.34), Painted Lady (1.19), Pretty in the Sun
(4.05), There Must Be A Way (5.39), Rollercoaster (2.58), Suffering In Silence (4.26).
'Other Crimes & Misdemeanors II' is an anthology of some of the band's earlier recordings that have not appeared elsewhere on CD.
The first pair of tracks are based upon the limited edition 7" single 'Dreaming From The Inside' that was released in the summer of '97.
These were originally recorded live in 1986, with minimal overdubbing, and the versions here were re-mixed in 1995...
'Dreaming From The Inside' is a song that also appears on the Galahad Acoustic album 'Not All There...' and this is coupled with 'The Opiate'. These certainly take one back in time, I never saw Galahad in those days
but here the sound is very typical of the prog bands that were around in those days. The second number is possibly a song that helped to raise the myth that Galahad were Marillion clones, as this appears to be
their own 'Grendel' in both delivery and atmosphere ... nevertheless, it's an interesting piece.
When Galahad were the runners-up in a Battle of the Bands competition in 1990 their prize was free studio time. The result - the next four tracks; they were again recorded live and were engineered by Rob Aubrey...
These tracks are generally rockier and take influences from across the rock music spectrum. A bouncy intro opens and is reiterated throughout 'Reach in to the Flames', while 'Dreams of Tomorrow' has a heavier
feel with a driving beat.
A leaning towards a Rush-like sound is much more evident in the next two tracks. Unfortunately in 'GSX' Stu's vocals are somewhat rough as he apparently had a sore throat - the result of a strenuous gig the
night before! In 'Truth of You' a catchy guitar riff and some nice keyboard work create an appealing ambiance that enhances the vocal line.
The following two pieces were recorded in the spring of 1991 with just vocals and keyboards used.
'Aqua Nimue' is a beautiful piece that experiments with layered vocal harmonies. A sung phrase is repeated and this, together with bell-like tones and swirling synth work, provides a backdrop to the main vocal.
Next up is a keyboard version of 'Painted Lady', a track which was re-recorded with guitars for the 1993 album 'In a Moment of Complete Madness'. This is an all too brief, but lovely number that displays
Nicholson's voice well.
The final session here was also recorded in '91; this time it's a whole band affair that was recorded with the aim of securing a management contract...
'Pretty in the Sun' is an upbeat song with the full rich instrumental backing that is common to all of this set of recordings. 'There Must Be A Way' has a slower pace - this is a great song with a hint of
Freddie Mercury in Stu's smooth, yet powerful vocal ... an excellent number.
'Rollercoaster' is a strong and spirited song while 'Suffering In Silence' is more subtle. This revels in its clear instrumentation and changes of mood and pace; sung verses and chorus are contrasted against
whispered sectors and the female operatic vocals add an extra slice of atmosphere ... great stuff.
This CD shows Galahad's range - they are nobody's clone; rather they are a band that assimilate many differing influences to produce their own distinctive style of music. The second half of this album is
particularly enjoyable and illustrates well a part of the journey that they took to become what they are today ... an excellent, but underrated band who produce sophisticated music for discerning listeners.
Marisa 12th September, 2001
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FOLLOWING GHOSTS
I had not heard anything by Galahad until recently, at the Whitchurch Festival. I saw two of them perform an acoustic set, and was totally impressed by vocalist Stuart Nicholson's voice.
I have been just as impressed by this CD, the latest of their album releases.
The CD starts in a very amusing fashion - we fell about, the first time we heard it - but I'll let you find out, for yourselves, how.
Then after a short burst of heavy metal guitar work, we are into the initial song, 'Myopia'. As with all of the tracks on this album, this is well put together and is beautifully arranged. It has a fabulous backing track to the chorus and some great fiddle playing which leads towards the resurgence of the heavy guitars which end the piece. A gentle Spanish guitar ushers us into the second track, 'Imago' - I love this song - the vocals are shared; the main part by Nicholson, ably supported by Sarah Quilter; and the contrast between the two voices, together with the pure and clear guitar really make this a total masterpiece.
The sounds of bird song introduce and, later, leads us back out of 'A Short Reflection On Two Lives, Part One'; a simple tune that shows off Nicholson's voice to great effect.
We are transported eastwards in the beginning of 'Karma For One' - the introduction features the sounds of markets along with the vocal call to prayer, a sound familiar to anyone who has spent any time in a Muslim community. This is a song with several moods, the first verse is beautifully sung - a strong contrast to the darkness of the lyric - leading into the chorus, the keyboards join in, with a great hook and the second verse is sung in a much harder-edged manner, over these. The instrumental section is highlighted by a sweet flute which breaks through the layers of guitars and keyboards at intervals, whilst the last verse has a hypnotic beat, matched with a bell-like sound, starkly supporting the vocals.
The atmosphere lightens considerably for the following number, 'Perfection Personified' which, in my opinion, would make a great single - this is pure pop (of the finest sort); a lovely light tune, some great guitar
- it's just brilliant! The next track, 'Bug Eye', while being distinctly different to anything that has gone before, fits in well.
The music is electronic, with some sections of driving rhythms and others with a much more ambient feel, and just the occasional, gentle vocals layered over - this is such a cleverly put together piece which seems to fly by so quickly despite it's almost fourteen minute length. 'A Short Reflection On Two Short Lives, Part Two' is another very simple tune but the hypnotic, circling keyboards lift the song, and leave you with a feeling of light-heartedness; proving that a simply melody can be turned into something extraordinary.
Pulsating rhythms introduce, and run through the song 'Ocean Blue'. This is closely followed by 'Rejuvenation', a two minute instrumental with a certain somnolent richness, which leads us into the penultimate
track 'Easier Said Than Done'. Nicholson's wonderful voice has a great range, and comes over brilliantly on this song. The instrumental backing is so cleverly arranged, with phrases repeated by several
differing instruments - it's inspired, and inspiring. How can they match this, can things get any better than this? Well, the last track, 'Shine', is a sweet little song that fades into a very laid back
instrumental - which, gradually, builds up and up; various instruments move to the forefront, then drop back allowing another forward and, it seems, suddenly we're listening to the last chorus, the final chords -
where has the time gone, that can't have been another fourteen minute track, can it?
This is an album with a feel good factor that is right up there with the best of them. The ten songs are intelligently written, and they contrast with, yet compliment, each other in a blend that is, at the same
time progressive, pop and rock with influences taken from all over the place. The only criticism I've got - I want more of it!
Do yourself a favour, get hold of it and listen ... 'Following Ghosts' will haunt you.
Marisa 25 August, 1999
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DE-CONSTRUCTING GHOSTS
De-Constructing Ghosts is a brave move for Galahad; the band who proved that they are not afraid of change, on their brilliant 'Following Ghosts' album, have made a totally radical move with this CD credited to the
Galahad Electric Company. They have taken 'Following Ghosts', stripped it down, taken musical and vocal samples and used these to create a set of new, completely different works.
These new numbers have been put together by Galahad members Neil Pepper and Dean Baker (Dean's tracks are probably the most easily accessible on the album), along with Dub Rumble, Phil Manley, James Barnard and Scott
Zuki. Together, these guys have produced an album of widely varying material.
The CD begins with 'Dusty Rhodes'.
which uses the complete vocals of 'A Short Reflection On Two Past Lives' over a driving drum beat. The starkness of the uncompromising backing track making Stuart's voice appear more fragile and emphasising the purity of his delivery. 'Imago Separation Mix' has a very heavy pulsating bass background, over which a variety of eastern sounds blend in and out; and the heavy drum and bass sounds continue through 'Cheese Roll Rozwell'
A much lighter mood is invoked by 'Ultra Shine' with it's heavenly choirs supporting snatches of Nicholson's flawless vocals, and the clear yet unobtrusive rhythm track.
The sound of throbbing drums, together with a single line of repeating vocal fades in at the start of 'Holy Curry Land', only to be superseded by the drum and bass sounds which then merge into the start of 'Ocean
Black'. In the first part of this the sometimes distorted vocals are displayed against an eardrum shattering bass line. The second half is completely different, and rather lovely - the vocals are
submerged in a sea of gently vibrating and softly moving sounds - this is great stuff.
'Karma Divine' is another song that uses a whole chunk of vocals. Dean Baker has used a host of sounds, combining them over an insistent driving beat. The haunting melody of 'Bug Eye' introduces 'The
Bliss Police', a piece with a subdued, somewhat slower rhythm. This has a certain weird discordance and a strangely disturbing quality.
A jittery rhythm and pounding bass provide the backdrop for 'Myopic Distortion' and continue through into 'Stu Goes To Morocco' which, as the name suggests, incorporates some of the "call to prayer" type
vocals from 'Karma For One'.
'Ensillar Surf Punk Mix' has an almost space rock sound hidden beneath a frantic racing rhythm, whereas on 'Great Portland Bleats', the spacey sounds are tinged with an eastern feel.
'Blind' is a low-key cacophony of drum and bass along with a variety of synthesised soundbites. The bizarrely named 'Sludge Flute Landing Zone' has a very definite eastern feel to the melody that flows over the compelling rhythm.
Leaving the best until last. '(We Will Always) Remember The Good Times...', follows on from the initial track, and completes the album. Again, the vocals are lifted intact, although here they have been looped
and distorted. The keyboards on this track are fabulous - a hypnotic sweeping melody reminiscent of fairgrounds.
So, not an album that will appeal to prog rock purists certainly. It's an interesting idea which definitely has merit and just needs to find the right audience. Who knows - five years from now this may be
hailed as the album that created a whole new division of prog ...
Marisa 22 September, 1999
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OTHER CRIMES & MISDEMEANOURS III (CD-R version)
'OCMIII' is a collection of Galahad material taped during the early '90s. The numbers appearing on this album were chosen for their recording quality and the fact that they had not before appeared on any of the
band's albums. The initial run is a limited edition, private pressing with a full release of this 'official bootleg' intended for some time in the future.
The band for most of the recordings was Stuart Nicholson - vocals; Roy Keyworth - guitars; Spencer Luckman - drums and percussion; Karl Garrett - keyboards; and Neil Pepper on bass.
The first three songs are taken from a Galahad EP which was originally released by Voiceprint in 1993, starting with 'Aries' (10.25).
This is an ever evolving epic number with lots of changes of time and feel. It includes some great keyboards work; towards the end some especially spiffing guitar work and, as usual, Stuart's wonderful vocals ... an excellent track which was a favourite live.
'The Chase' (4.18) is a gentler number beginning with classical guitar sounds over swirling synths. The vocals take over from the guitar and, after these, the pace slowly builds and the keyboards become
increasingly lively, working alongside the guitar.
This instrumental version of 'Learning Curve (Live and Learn - part two)' (4.26) preceded the sung version that appeared on the 'Sleepers' album. A strong piece that comes over very well performed in this way.
The next three pieces were recorded, in 1991, for the Radio One Friday Night Rockshow after Galahad won the show's Rock War in which they recorded the highest number of votes by any other band winning the
competition. This session was the first for keyboard player Karl and the bass player here was Tim Ashton.
First off, a spirited rendition of 'Face To The Sun' (6.11) from 'Nothing Is Written' which is followed by the bubbly 'One For The Record (4.53) from 'In A Moment Of Complete Madness'.
Then, again from 'Nothing...", comes 'Room 801' (7.19) which suffers for the lack of guitar work for part of the piece - a trainee engineer wiped the tape and there was no time to re-record it!
'Exorcising Demons' (9.36) was recorded for, but never made it onto, the 'Classic Rock Live' CD due to lack of space.
This is a superb rendition with a chillingly creepy atmosphere early on, with the sound strengthening, giving Stuart's voice full rein and the eminently pompous ending.
The final three tracks are all cover versions: firstly 'The Ceiling Speaks' (6.08), the Twelfth Night song. This version originally appeared on 'Mannerisms', the album recorded as a tribute to the late great
Geoff Mann (which is being re-released next month on Verglas). This is pretty true to the original - a fine rendition.
'Lady Fantasy' (11.40), from the Camel album 'Mirage', was recorded for 'Harbour of Joy' in 1996; and the great version of Genesis' 'The Chamber of 32 Doors' (5.21) for 'The River of Constant Change' in 1995.
Both of these were tribute albums issued on the Italian Mellow Records label.
This is an essential piece of kit for the serious Galahad fans who wish to complete their collections, but it would also be of great interest to prog fans in general ... the cover versions especially.
Marisa 11th February 2001
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OTHER CRIMES & MISDEMEANOURS III
Track list: Aries (10.25), The Chase (4.18), Learning Curve (4.26), Face to the Sun (6.11), One for the Record (4.53), Room 801 (7.19), Exorcising Demons (9.36), The Ceiling Speaks (6.08), Lady Fantasy (11.40),
The Chamber of 32 Doors (5.21).
This is the official, factory produced version of 'OCMIII' - the album has previously been available on a CD-R version with home produced insert.
The eight page, colour accompanying booklet gives information about where and when the tracks were recorded, and the band's lineup at the time. It also contains many photos of the band, some of which must make
them cringe looking at them now!
The music is the same as on the CD-R version, so please check the review (directly above) for details. I haven't listened to the album for a while and listening to it now, I am again impressed by the band's
clear sound and musical depth.
While some of the tracks may prompt comparisons to other prog-rock bands, Galahad have a strong identity of their own that shines through on all of the tracks.
This is true for the cover versions (of Twelfth Night, Camel and Genesis) too, although true to the original songs, there is no mistaking who's performing the numbers.
There are some very fine pieces here that will interest prog heads an is an essential for all Galahad fans.
Marisa 26th September, 2001
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