[N.B. Due to weather, our internet is out, and I've typed this and posted it using our cell connection. Spotty at best. If there are errors and typos in the post, please don't let it reflect on all of progarchy. When I have a real connection, I'll clean it up. Promise!--Brad, ed.]
I hate to admit it, but I know the music of Galahad until about a year and a half ago.
Alison Henderson, first lady of prog and a fellow progarchist, introduced me to the music at the time that Battle Scars (April 2012) came out. “Brad, you have to check out the new Galahad album. It’s brilliant.” Actually, I’m paraphrasing, not quoting. But, I bet I’m really close when remembering her email that day.
I never fail to follow the advice of Lady Henderson, and I downloaded the music that day.
From the opening plaintive words to the direct pleading lines of “Battle Scars, Battle Scars,” I was rather taken. I wrote back to her almost immediately, “This is what Ultravox should’ve been!” She replied that she would have to take my word for it.
Granted, I really dislike it when reviewers compare Big Big Train to Genesis, as though Genesis needed completing or as though Big Big Train exists to fill the void left by 1977 Genesis. So, please don’t take my comparison as anything more than a joyful comparison. Stu Nicholson’s voice has, in the best sense, a Midge Ure quality—bringing just the perfect amount of emotion and emphasis to a song. So, imagine if Ultravox had decided to explore the farthest reaches of its potential after releasing Rage in Eden (especially side 2 of that amazing work). Imagining such a beautiful thing, I can see—far into the distance—Battle Scars or Beyond the Realms of Euphoria.
CURRENTLY AVAILABLE FROM GONZO
No comments:
Post a Comment