Trapeze
Band members Related acts
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line up 1 (1969-70) - Mel Galley (RIP 2008) -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Glenn Hughes -- vocals, bass, guitar, keyboards, trombone - John Jones -- vocals, trumpet - Terry Rowley -- keyboards, flute
line up 2 (1970-74) - Mel Galley (RIP 2008) -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Glenn Hughes -- vocals, bass, guitar, keyboards, trombone
supporting musicians:(1972) - Rod Argent -- keyboards - B.J. Cole -- steel guitar - Kirk Duncan -- keyboards - Jimmy Hastngs -- sax - John Ogeden -- percussion - Frank Ricotti -- vibes
line up 3 (1974-78) - Mel Galley (RIP 2008 -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Rob Kendrick -- lead guitar - Pete Wright -- bass
backing musicians (1974) - Misty Browning -- backing vocals - Kenny Cole -- backing vocals - Chris Mercer -- sax - John Odgen -- percussion - Terry Rowley -- synthesizers, keyboards, backing vocals
line up 4 (1978-80) - Mel Galley (RIP 2008 -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Peter Goalby -- vocals, lead guitar (replaced Rob Kendrick) - Pete Wright -- bass
line up 5 (1980-82) - Steve Bray -- drums, percussion (replaced Peter Goalby) - Mel Galley (RIP 2008 -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Pete Wright -- bass
line up 5 (1982) - Richard Bailey -- keyboards - Steve Bray -- drums, percussion (replaced Peter Goalby) - Mel Galley (RIP 2008 -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Mervyn Spence -- bass, vocals (replaced Pete Wright)
line up 6 (1991) - Geoff Downes -- keyboards (replaced Richard Bailey) - Mel Galley (RIP 2008 -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Glenn Hughes -- vocals, bass, guitar, keyboards, trombone - Mervyn Spence -- bass, vocals
line up 7 (1994) - Geoff Downes -- keyboards - Craig Erickson -- guitar - Mel Galley (RIP 2008 -- vocals; rhythm guitar - Dave Holland -- drums, percussion - Glenn Hughes -- vocals, bass, guitar, keyboards, trombone
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- Asia - Black Country Communion (Glenn Hughes) - Black Sabbath (Mel Galley and Glenn Hughes) - Budgie - Buggles - California Breed (Glenn Hughes) - Cloven Hoof - Deep Purple (Glenn Hughes) - Fable (Peter Goalby) - Finders Keepers (Glenn Hughes and Mel Galley) - Pete Goalby (solo efforts) - The Hooker-Lees (Glenn Hughes) - Glenn Hughes (solo efforts) - Hughes - Thrall (Glenn Hughes) - Hughes - Turner Project (Glenn Hughes) - Iommi - Hughes (Glenn Hughes) - The In-Pack (Glenn Hughes) - The Intruders (Glenn Hughes) - Judas Priest (Dave Holland) - The Loberators - MGM (Mel Galley) - The Montanas (John Jones and Terry Rowland) - The News (Glenn Hughes) - Perfect Strangers (Pete Goalby) - Phenomena (Mel Galley) - Pinkerton's Assorted Colours (Dave Holland) - The Red Caps (Mel Galley) - Soho (Pete Goalby) - Uriah Heep (Pete Goalby) - Whitehead (Mel Galley) - Yes
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Genre: progressive Rating: 4 stars **** Title: Medusa Company: Threshold Catalog: THS 4 Year: 1971 Country/State: Wolverhampton, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 3268 Price: $30.00
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In the wake of their 1969 debut album, the band underwent a significant personnel shake up with lead singer John Jones and keyboardist Terry Rowley leaving. Reduced to a trio, drummer Dave Holland, singer/bassist Glenn Hughes, and guitarist Mel Galley, they returned to the studio for 1970's "Medusa." Continuing their partnership with Moody Blues bassist John Lodge handling production chores, the results were surprisingly enjoyable. This time around their earlier progressive leanings were all but abandoned, material like 'Jury', 'Touch My Life' and the title track opting for a much harder rock sound. Exemplified by the power ballad 'Seafull' Hughes' instantly recognizable voice was perfectly suited for the hard rock genre. While Hughes garnered much of the spotlight, the real star was Galley. His lead guitar was always tasteful and, unlike many of his contemporaries, Galley seemingly recognized the concept of less-is-more. His performance on 'Black Cloud' was simply breathtaking.
Interestingly I can clearly remember hearing this album while attending college - my Freshman year dorm mate may have even owned a copy. At the time, among side the likes of Bad Company, Rainbow, Whitesnake, etc. it didn't make a gigantic impression on me. It was only after someone pointed out "Medusa" had proceeded many of those AOR bands by a good five years that I realized what a trend setting collection it was..
The band toured heavily in support of the album, relocating to Houston, Texas which they used as a base for multiple tours over the next three years.
"Medusa"
track listing: 1.) Black Cloud (Mel Galley - Tom Galley) - 6:03 rating: **** stars For a band that any folks still categorize as '70s progressive, 'Black Cloud' has always struck me as sounding like a slice of Southern hard rock. Admittedly, powered by Hughes' strangling vocals and just the right amount of cowbell, it made for a great slice of Southern rock which might explain why the song was tapped as a leadoff 45. Curiously I've only seen promotional copies:
- 1969 'Black Cloud' b/w 'Your Love Is Alright' (Threshold catalog number 45-67005)
2.) Jury (Mel Galley - Tom Galley) - 6:10 rating: **** stars Powered by a nifty Mel Galley series of riffs, the heavy metal 'Jury' has always reminded me of a cross between Black Sabbath and The James Gang. Interestingly, it must have sounded quite fresh in 1970, though with every '80s hair band (including a number that Hughes played with), having literally ripped the sound off, some of that freshness has evaporated. 3.) Your Love Is Alright (Mel Galley - Tom Galley - Glenn Hughes - Dave Holland) - 4:54 rating: **** stars The album's lone group composition (with the addition of Tom Galley), 'Your Love Is Alright' was also the album's funkiest track. Seriously. Galley's fuzz guitar riff was sincerely funky. Would have been a dandy FM single. 4.) Touch My Life (Mel Galley - Tom Galley) - 4:06 rating; *** stars 'Touch My Life' was another track that would have been filed away with the overflow of rather anonymous hard rock without Galley's melodic and seemingly effortless chops.
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2) Looking for a definition of power ballad? 'Seafull' would be a good place to start. One of Hughes' prettiest compositions. It's still in his repertoire. 2.) Makes You Wanna Cry (Mel Galley - Tom Galley) - 4:41 rating; *** stars Back to a funky groove; this time Galley handling lead vocals. Admittedly Galley wasn't Glenn Hughes, but I have to tell you he didn't sound half bad on this one. 3.) Medusa (Glenn Hughes) - 5:42 Anyone interested in hearing Galley at his best should track down this one. Again, his performance isn't flashy, but he makes the most of his time in the spotlight.
© Scott R. Blackerby April, 2020
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Genre: rock Rating: 3 stars *** Title: You Are the Music, We're Just the Band Company: Threshold Catalog: THS 8 Year: 1972 Country/State: Wolverhampton, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 1779 Price: $25.00
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Trapeze's
third collection found the roster still operating as a trio featuring
singer/guitarist Mel Galley, drummer Dave Holland, and singer/bassist
Glenn Hughes. Having bough
"You are
the Music, We're Just the Band" track listing: 1.) Keepin' Time (Mel Galley - T Galley) - 3:42 rating: *** stars Kicked along by Galley's larynx tearing vocals and Hughes tasteful, multi-tracked country-rock-influenced lead guitar, 'Keepin' Time' was a surprisingly tough, Free-styled blues rocker. As I said earlier, nothing particularly original, or ground breaking, but solid for the whole three and a half minutes with Hughes getting to cut loose at the end. 2.) Coast To Coast (Glenn Hughes) - 4:02 rating: *** stars Pretty, if somewhat anonymous country-tinged ballad. Strange comparison, but there was something in Galley's vocal that sounded like he was trotting out his best Stevie Wonder impression. For some reason Threshold decided to release this atypical track as the album's single:
- 1972's 'Coast To Coast' b/w 'Your Love IS Alright' (Threshold catalog number TH 11)
3.) What Is a Woman's Role (Glenn Hughes) -5:45 rating: **** stars Bit of Robin Trower in the mix? Impressive, highly melodic mid-tempo rocker that showcased some of Galley's most enjoyable and impressive moves. 4.) Way Back To the Bone (Glenn Hughes) - 5:30 rating: **** stars Built on a nifty little funky riff, 'Way Back To the Bone' found the trio returning to Free/Bad Company styled blues-rock. Again, it wasn't the most original tune you've ever heard, almost sounding like an in-studio jam, but once that riff got in your head it was hard to shake it.
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2) The first disappointment - Galley should have known he wasn't capable of hitting those atmospheric notes. The poor guy sound like he was slamming his hand in a car door. Even my cat runs out the door when I play this one. 2.) Will Our Love End (Glenn Hughes) - 5:07 rating: *** stars Kind of a supper club sounding ballad that probably would have done well on the singles charts. It also sported Galley's most melodic solos. 3.) Loser (Mel Galley - T Galley) - 4:45 rating: **** stars More blues-rock. but sporting the album's best riff ... If I could learn one guitar riff, this one would be in the top-ten running. This was the tune Threshold should have dropped as a single. 4.) You Are the Music (Mel Galley - T Galley) - 5:21 rating: *** stars The title track was a nice slice of double time boogie rock.
© Scott R. Blackerby April, 2020
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Genre: progressive Rating: 3 stars *** Title: The Final Swing Company: Threshold Catalog: THS 11 Year: 1974 Country/State: Wolverhampton, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 2606 Price: $15.00
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Knowing singer/bassist Glenn Hughes for his work with the likes of Black Sabbath and Deep Purple (MK III), I always get a laugh when playing something from his days with Trapeze. For his part Hughes apparently didn't think too much about this part of his life since it gets little more than a brief mention on his website: http://www.glennhughes.com/
Released after Hughes had left the band to replace Roger Glover in Deep Purple, 1974's "The Final Swing" was an entertaining, if abbreviated career retrospective. It was also somewhat ironic in that (in spite of liner notes that gave one the impression the band had called it quits), they'd regrouped and signed a deal with Warner Brothers. Regardless, pulling nine tracks from the band's first three studio sets, the emphasis was on the criminally overlooked debut with three tracks coming from "Medusa", one selection from "Trapeze" and two from "You Are the Music ... We're Just the Band". Elsewhere 'Good Love' and the instrumental 'Dat's it' reflected a pair of previously un-issued selections. For a band signed to The Moody Blues Threshold label, Hughes and company were surprisingly cool. Lots of references labeled them as being progressive, but that really wasn't an apt description. In that respect the compilation did a nice job of showcasing the band's enjoyable mix of commercial, hard rock and soulful moves ('You Are the Music'). Folks also tend to forget what a good singer Hughes was - particularly when he avoided stretching into higher ranges such as the fatal 'Medusa'. Mind you, nothing here was particularly original, or inventive but by the same token tracks like 'Your Love Is Alright' and 'Black Cloud' easily gave Bad Company, Free and other mid-1970s English rockers a run for their money. Adding to the irony, subsequently dropped by Threshold, the album provided the band with their first US chart entry.
"The Final
Swing" track listing: 1.) Send Me No More Letters (Terry Rowley) - 4:51 2.) Your Love Is Alright (Mel Galley - Glenn Hughes - Dave Holland) - 4:54 3.) Black Cloud (Mel Galley - T Galley) - 6:13 4.) Medusa (Glenn Hughes) - 5:40
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2) 2.) Will Our Love End (Glenn Hughes) - 5:07 3.) You Are the Music (Mel Galley - T Galley) - 5:21 4.) Good Love (Glenn Hughes) - 4:02 5.) Dats It (instrumental) (Mel Galley) - 3:10
Mel Galley has a small website at: http://www.myspace.com/melgalley
I'd love to tell you that Dave Holland also had a website, but in 2004 he was convicted of attempted rape against a child and handed an eight year prison sentence.
Sadly Galley died on cancer in 2008.
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Genre: rock Rating: 3 stars *** Title: Hot Wire Company: Warner Brothers Catalog: BS 2828 Year: 1974 Country/State: Wolverhampton, UK Grade (cover/record): VG+/VG+ Comments: still in shrink wrap opened Available: 1 Catalog ID: 2132 Price: $25.00
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1974's "Hot Wire" saw the band expanded to a quartet with the addition of Rob Kendrick on lead guitar and Pete Wright taking over bass from Glenn Hughes. Co-produced by the band and Neil Slaven, their fourth studio set found the band all but dropping progressive influences from their repertoire in favor of a far more conventional mix of album oriented rock. With Mel and Tom Galley responsible for all of the eight tracks, you couldn't be blamed for mistaking tunes like 'Back Street Love', 'Take It On Down the Road' and '' for something out of The Free, or Bad Company catalog. Totally unexpected and surprisingly enjoyable were the band's forays into white boy funk ... 'Midnight Flyer' was easily one of the best mash-ups of AOR and funk moves you'll ever hear, while 'Turn It On' and 'Free It Inside' weren't far behind. Lots of folks bemoan the loss of Hughes, but to my ears his departure really didn't make a gigantic difference to the band with Mel Galley proving to be a more than adequate singer. Maybe because my expectations weren't all that high, this proved a thoroughly enjoyable surprise. Shame Warner Brothers didn't do more to promote the group - as far as I can tell the label didn't even float a single off the album. In spite of the lack of promotion the collection still managed to hit # 146 on the US album charts.
"Hotwire" track listing: 1.) Back Street Love (Mel Galley - Tom Galley) - 5:02 rating: *** stars With Mel Galley seemingly turning in his best Paul Rogers impression (I'd give it a B - on the grading scale), 'Back Street Love' found the band dipping their collective toes into Bad Company-styled blues rock. If you grew up listening to mid-'60s album oriented rock, this was probably right up your alley, though it was liable to remind you of a dozen other bands. 2.) Take It On Down the Road (Mel Galley - Tom Galley) - 4:46 rating: **** stars If the leadoff track had a Bad Company vibe, then 'Take It On down the Road' was simply smoothered in the same influences. The song had a great wah wah effect lead solo from Kendrick and kudos to Wright for turning in some wonderful bass lines. 3.) Midnight Flyer (Mel Galley - Tom Galley) - 6:02 rating: **** stars And then out of the blue came the stunning 'Midnight Flyer' !!! Possibly one of the top-10 AOR and funk amalgamations I've ever run across ... I know, you're shaking your head and going "funk"? Believe me, this had a funky rhythm section that would effortlessly challenge scores of better known funk bands. Check out the Kendrick-Wright interplay. Simply a stunning performance. It was recorded a full twenty years after the studio release; featured a different line-up (Glenn Hughes briefly back in a reformed line-up), and the video and sound quality were severely lacking, but courtesy of YouTube you can see the band lat a 1994 Dallas, Texas performance: https://www.youtube.com/watch?v=q7S4NSfeBuU 4.) Wake Up, Shake Up (Mel Galley - Tom Galley) - 3:58 rating: *** stars Side one returned to a more conventional rock format with 'Wake Up, Shake Up'. The song wasn't anything special, but I have to admit that Mel Galley seldom sounded as good.
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2) Powered by Mel's gravely voice (who needed Glenn Hughes?) and Wright's killer bass moves, 'Turn It On' was another enjoyable white boy funk number. This was the tune White Cherry always wished they could have recorded. 2.) Steal a Mile (Mel Galley - Tom Galley - Dave Holland) - 4:53 rating: **** stars Who would have expected a bunch of Brits to open a tune with such an attractive, breezy Southern rock-styled opening? Think along the lines of a cross between Little Feat and early Steely Dan, but better ... Chris Mercer on sax. Probably my choice for the album's most thoroughly commercial performance. It would have made a dandy single. 3.) Goin' Home (Mel Galley - Tom Galley) - 5:12 rating: **** stars Unlike some of the earlier Bad Company styled blues-rockers, 'Goin' Home' had more of a hard rock orientation. Surprisingly the pulled it off with panache and I've always loved the extended backwards guitar solos. 4.) Free It Inside (Mel Galley - Tom Galley) - 8:44 rating: *** stars More white-boy soul/funk moves, though this time they sounded as if they were trying a tad too hard. Maybe it was Misty Brown's shrill backing vocals that grated ... Still, stretching out to almost nine minutes 'Free It Inside' gave the entire band a chance to stretch out and I actually enjoyed the song's extended instrumental jam segments.
© Scott R. Blackerby April, 2020
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Genre: progressive Rating: 3 stars *** Title: Trapeze Company: Warner Brothers Catalog: BS 2887 Year: 1976 Country/State: Wolverhampton, UK Grade (cover/record): VG+/VG+ Comments: -- Available: SOLD Catalog ID: SOLD 1052 Price: SOLD $10.00
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Not to be confused with their 1970 debut, 1976's Steve Smith produced "Trapeze" found the band following popular tastes and shifting into standard AOR mode. Not to sound snotty, but with singer/rhythm guitarist Mel Galley responsible for most of the material, the ten songs on this album were collectively about as original as the album title, or the bland and forgettable cover art. Positives first - together for their second album, the Mel Galley, Dave Holland, Rob Kendrick, and Pete Wright line-up sounded comfortable and professional throughout, if hardly ground-breaking. If you liked the Bad Company/Free school of English blues-rock, there were a couple of okay nods to the genre - 'It's Alright' and ' I Need You'. And now for the not so pleasant comments. The best thing I can say about these ten tracks is that there was nothing really bad, but nothing really great to be found across these grooves. It was almost as if the band had fashioned a collection of AOR-styled background music. So was there anything worthwhile here ? The rocker 'Monkey' was probably the best overall performance. Elsewhere, featuring former band member Glenn Hughes on vocals, 'Chances' and 'Nothin' for Nothing' reflected material apparently salvaged from earlier sessions. Unfortunately, neither track was particularly memorable. 'Chances' was a forgettable acoustic ballad, while 'Nothin' for Nothing' was an irritating blues-rocker. Professional, but pedestrian.
"The Final
Swing" track listing: 1.) Star Breaker (Mel Galley - Tom Galley) - 3:30 rating: *** stars Yeah it was guitar fueled metal, but to my ears surprisingly tuneful with Gilley doing a credible job in the lead singer role. A tune I might have considered as a single. 2.) It's Alright (Mel Galley) - 4:12 rating: **** stars To it's credit, 'It's Alright' at least found the band stretching a bit; in this case the results producing a decent country-tinged blues number that sounded a bit like a second tier Bad Company cover. Giving credit where due, Rob Kendrick turned in some of his best work on this one. 3.) Chances (Mel Galley - Tom Galley - Glen Hughes) - 2:30 rating: ** stars As one of two tunes featuring former member Glenn Hughes on vocals, 'Chances' was apparently a track left over from earlier sessions. Shame it wasn't very good. An acoustic ballad with a slightly jazzy edge, it featured some nice Kendriick acoustic guitar, but little more to recommend it. 4.) The Raid (instrumental) (Mel Galley) - 2:45 rating: *** stars Maybe just my ears, but 'The Raid' has always reminded me of a Thin Lizzy track. Technically it wasn't really an instrumental since Galley howled the title a couple of times, but for all intents and purposes this was little more than a studio jam seemingly intended to give each member an opportunity at the spotlight. 5.) On the Sunny Side of the Street (J. McHugh - D. Fields) - 2:40 rating: ** stars I'll admit to complete indifference to their cover of the chestnut 'On the Sunny Side of the Street'. Give a blues--rock/boogie arrangement, the best thing here was a touch of Kendrick's slide guitar.
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2) A couple of minutes after this one's over I can't remember a thing about it. 2.) Monkey (Mel Galley - Tom Galley) - 3:40 rating: **** stars Not a single original note or thought, but with a great chuggin' melodies, 'Monkey' was probably the best performance on the album ... Galley sounded great on this tune. 3.) I Need You (Mel Galley) - 4:35 rating: *** stars Another Bad company-styled tune; Galley even sounded a touch like Paul Rogers on this one. 4.) Soul Stealer (Mel Galley - Tom Galley) - 3:30 rating: *** stars More Paul Rogers moves with one of the album's better melodies. 5.) Nothin' for Nothing (Mel Galley) - 3:53 rating: *** stars The second tune showcasing Hughes on vocals, 'Nothin' for Nothing' was a blues-rocker interesting for the fact it showed Hughes employing his most nasally (or whiny) voice.
© Scott R. Blackerby April, 2020
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Genre: rock Rating: 3 stars *** Title: Hold On Company: Paid Catalog: PLD 2003 Year: 1980 Country/State: Wolverhampton, UK Grade (cover/record): VG+/VG+ Comments: promo stamp on back cover Available: 1 Catalog ID: -- Price: $20.00
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Released by a band in their death throes, I have to tell you 1980's "Hold On" proved surprisingly impressive and far more enjoyable than I would have ever expected. It isn't often you can use such descriptors for a band having just lost their lead vocalist and prime creative force and struggled to land a recording contract with any label.
Introducing former Fable vocalist/rhythm guitarist Pete Goalby, the album that morphed into "Hold On" was actually released in Germany in 1978. Co-produce by the band and famed Rolling Stone producer Jimmy Miller the band's sixth studio collection was originally entitled "Running" (Shark catalog number INT 148.500). The German release featured an alternative cover, but the same nine songs, though in a different running order. Most folks looking at the original cover will be able to puzzle out why the UK and US releases featured an alternative cover.
With Goalby and Mel Galley sharing writing duties, I was initially less than overwhelmed by the album. It struck me as competent and professional, but just kind of forgettable. For some reason it's an album I held on to and the more I've played it, the more it's grown on me to the point I now find it consistently enjoyable. Admittedly the collection sounds a little different than the band's earlier work; more mainstream stadium rock-ish. It's certainly not the most original album you've ever heard, but powered by Goalby's nice voice and Mel Galley's sadly overlooked lead guitar each one of these tracks boasted strong blues-rock melodies and plenty of tasty hooks. Galley was also a decent singer. In fact, absent detailed liner notes it was frequently difficult to tell who was handling vocals. Anyone into '80s FM stadium rock is likely to have a feel for material like 'Take Good Care,' 'Time Will Heat' and the Delbert McClinton-styled title track. Elsewhere 'Don't Ask Me How I Know' and 'Livin' On Love' (check out the hoedown refrain), added a touch of country to the mix. Normally that wouldn't have done much for me, but it somehow worked on this set. Ultimately this album raises the question as to why some bands made it big, while others just faded into the sunset. Trapeze clearly deserved a more fitting second act. For hardcore fans note that a couple of live albums have been released over the years.
"Hold On" track listing: 1.) Don't Ask Me How I Know (Pete Goalby) - 2:48 rating: *** stars 'Don't Ask Me How I Know' opened the album with a breezy, country-tinged rocker that showcased Goalby's pleasant voice. The other highlight came from Mel Galley's slide guitar. Pleasant and certainly radio friendly, but not particularly original. Hearing Goalby's twangy delivery always makes me wonder how a guy from Wolverhampton, UK could sound so much like an American Southern rocker.. The track was tapped as a single in the UK and Spain:
- 1980's 'Don't Ask Me How I Know' b/w 'Take Good Care' (Aura catalog number AUS-114) 2.) Take Good Care (Mel Galley) - 3:34 rating: **** stars 'Take Good Care' offered up a much stronger mixture of pop and rock moves. The track also served to showcase how good Goalby's voice could be and how impressive the combination of Goalby and Galley's vocals were. Easy to see why Uriah Heep grabbed him shortly thereafter. 3.) When You Get to Heaven (Pete Goalby) - 4:08 rating: *** stars 'When You Get to Heaven' was built on a tasty little Galley guitar riff that made it easy to overlook Goalby's sophomoric lyrics. 4.) Livin' on Love (Pete Goalby) - 3:47 rating: *** stars Adding an unexpected country hoedown flavor to the chorus, to the Southern rock tinged 'Livin' On Love' served as a nice example of Galley's guitar chops and again demonstrated Golaby and Galley were excellent harmony singers. 5.) Hold On (Mel Galley) - 5:02 rating: **** stars Funny, but the funky title track has always reminded me of a good (aka rockin') Delbert McClinton tune. As a big McClinton fan, that's a high comment.
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2) An orchestrated big ballad, 'Don't Break My Heart' was the album's first true disappointment. The first half of the song was pretty enough, but there wasn't a single original note, or thought across the grooves. Adding to the problems, the vocals sounded like something Mickey Thomas might have recorded during his stint with The Jefferson Starship. Still the song wasn't a total washout. There was a marked improvement in quality when the tune suddenly picked up speed and energy, moving into a Bad Company niche. Docked a star for the slow start. 2.) Running (Mel Galley) - 4:27 rating: *** stars The title track for the original German release, 'Running' was interesting for being one of the few tracks where Galley and Goalby traded lead vocals. That feature gave the song a highly commercial edge making it easy to understand why it was released as the second UK single. I've always wondered why the single was released with the title 'Running Away'.
- 1980's 'Running Away' b/w 'Don't Break My Heart' (Aura catalog number AUS-116)
3.) You Are (Mel Galley) - 4:45 rating: ** stars While I liked the tone of Galley's opening guitar salvo, the ballad 'You Are' was the easily the album's blandest performance. 4.) Time Will Heal (Mel Galley) - 6:37 rating: **** stars 'Time Will Heal' ended the album with a nice blues ballad that reminded me of a classic Robin Trower performance.. Normally songs that start with sound effects like water on a beach are a bad harbinger of what is coming. Sickly sweet lobe songs, or morbid heartbreak themes come to mind. Admittedly this one would have been better without some of the heavy orchestration, but for a guy not particularly tuned into lyrics or touching plotlines, I'll admit this one had a pretty melody and was quite effective.
© Scott R. Blackerby October, 2024
KNOCK IT BACK! Published [Rating72073897] INT 148.500 Vinyl LP (1978) metaxa Mar 10 20133.00 stars After Glenn Hughes' departure to Deep Purple, and instead of giving it up after the demise of an essential member, Trapeze decided to keep on the road. After two albums in which Mel Galley assumed vocal duties, Pete Goalby (ex-Fable) came aboard and recorded a pair of good albums (one in studio plus one live). Overshadowed by the Hughes age, nobody seems to care about the Goalby albums, even if both were perfectly valid. Sure, any of these (nor the previous LP's sung by Galley) matches the quality level of Medusa, but all are listenable. My favourite is "Running", released first in Germany with the rare "naked girl" cover, later retitled/repackaged for the rest of the world as "Hold On" and the harmless car cover. After Trapeze disbanded, Goalby got a temporary sucess in Uriah Heep (1982-85) Published [Rating51667410] metaxa Mar 10 20133.00 stars After Glenn Hughes' departure to Deep Purple, and instead of giving it up after the demise of an essential member, Trapeze decided to keep on the road. After two albums in which Mel Galley assumed vocal duties, Pete Goalby (ex-Fable) came aboard and recorded a pair of good albums (one in studio plus one live). Overshadowed by the Hughes age, nobody seems to care about the Goalby albums, even if both were perfectly valid. Sure, any of these (nor the previous LP's sung by Galley) matches the quality level of Medusa, but all are listenable. My favourite is "Running", released first in Germany with the rare "naked girl" cover, later retitled/repackaged for the rest of the world as "Hold On" and the harmless car cover. After Trapeze disbanded, Goalby got a temporary sucess in Uriah Heep (1982-85) Published [Rating51667119] INT 148.500 Vinyl LP (1978) fumanchu77 Jun 22 2012?5.00 stars a very overshadowed album, which is a pitty, cause there are many fine tunes and overall, here we a have a hard rock classic for those who dig 70's rock music. Published [Rating46020915] JettBlackBerryX Apr 02 20094.50 stars Much Better than I expected. I was hooked from Track 1 Oddly enough my favorite Trapeze album. Sorry Glenn. Published [Rating21708740] Grampus Mar 08 20091.50 stars No idea what attracted me to this album but for sure it wasn't the cover art. There are undoubtedly people out there who get turned on by the arse end of a Morris Minor but I am not one of them – irrespective of what might be going on inside! Could be that I read somewhere that Trapeze was Glenn Hughes' old band before he left to join Deep Purple. (Trapeze had also been the home of Dave Holland for ten years before he moved on to Judas Priest). But, then again, I've never needed an excuse to experiment so maybe it was the price which enticed me. Whatever, from what I've been able to discover Hold On represents the band's swan-song but is not indicative of their previous work. Apparently their earlier brand of progressive rock contain elements of funk, jazz and blues, a mix which sounds eminently better than this blues rock piece. Hold On isn't bad but there were many more bands far more proficient ploughing the same furrow.
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