Tag Archives: mel galley

PETER WRIGHT – British bass player recalls his time with TRAPEZE

Leave a comment

Back in the ’70s, bass player PETER WRIGHT played in a few bands from Wolverhampton. His early bands may not have taken off, but when Glenn Hughes left local favorites TRAPEZE to join DEEP PURPLE, a bass player was needed, and Peter auditioned for and joined TRAPEZE for nearly a decade, and played on the band’s next 3 studio albums. Now retired from music, Peter lives in Texas, but looks back fondly on his Trapeze days and recordings. Enjoy!

Did you have any recording bands before joining Trapeze?

OK, so here’s what happened. Like any good British kid, when the Beatles came out, we wanted to get a band together and one thing led to another and I turned professional. The first band I was in professional was called ASHLEY. And we we recorded, but we didn’t make albums;i t was all canned. And we had a road manager called John Kirby who worked with everybody on the face of the earth, and I told John about going out in the van. We had one van, and he had the van stolen from outside Wolverhampton Civic Hall. And the only thing not in the van was my 62 Fender Jazz Bass, which, I’ve still got to this day.

Anyway, so that was the end of Ashley. So then I was out of work and there was a guy called Johnny Neal, Johnny Neal and The Starliners, and they won Opportunity Knocks. You probably wouldn’t know what that is; It’s like a star search type thing. So John was the main guy and we were the Starliners, and that was great. I was really happy. We’d do like a week in Newcastle, a week in Scotland and Southport and that kind of thing. And I was always friends with the guys from Trapeze. I went up to pick up Terry, who was a sound engineer, and they were auditioning bass players. So Mel says “Are you still playing?” I go, “Yeah”. He says, “Well, bring your guitar up”. So I went up to JB’s in Dudley with my guitar and it was just Mel and Dave, and they were playing and I’d seen them auditioning other bass players. So I played and Tony Perry, who’s a dear friend of mine, he was the manager, Tony Perry, still is the main guy. And they went and had a meeting and I’m sitting there, waiting and Tony and them came out of the meeting and they said, “Pack your bags, you’re in!”

So that meant joining Trapeze, and coming to the States and making albums and everything. And it went great. But then unfortunately what happened was they got involved with Justin Hayward from the Moody Blues. They’d recorded, I think the first album John Lodge produced. Anyway, so everything’s going well. And then they were going to get involved with John Lodge and Justin doing Blue Jays. So originally Trapeze were going to play before them, then the Blue Jays would play. Well, they decided it was too much, so they had a meeting with Tony, me and Kendrick and that was the end of Trapeze for a while.

Then I came over to the States; I got married to an American girl and I’m living in San Antonio and I wasn’t working. She was based in San Antonio. She was a flight attendant and I got a call from Dave saying that Justin was going to be doing a tour and I needed a bass player. So I flew over and we started rehearsing at either Pinewood or Shepperton Studios and rehearsing, rehearsing, rehearsing. It was great fun. And then that tour never came together. Meanwhile, we put Trapeze back together, just me, Mel and Dave, and that lasted a while and then that’s when Pete Goalby came to see us and then Pete joined. Pete was with us to the bitter end, and we came over to the States, and the last gig we did was in New York City and trying to get a record deal and no record deal so I came back down to Dallas and everybody went their own separate ways and that was the end.

I want to go back. When you joined Trapeze, was Rob Kendrick already there?

No, Rob came in after me. But I’d been with Rob Kendrick in another band. So there was the three of us and I thought it’d be good to have Mel, to have Rob in the band to make the guitar playing a little easier for Mel. But Mel didn’t really like, well he didn’t like Kendrick at all. Mel was a great guy, great guitarist but a little bit finicky. It was all Mel’s band. We had some good times but we were really just a backing band really.

Rob was there and neither of you were doing all the vocals at that point?

Mel was doing all the vocals. Rob didn’t do any vocals. I didn’t do any vocals. It was all Mel.

It’s interesting because in the vocals he has that same sort of style as Glenn.

He does. He used to lose his voice a lot. Mel and Dave, they knew each other from years and years ago in a band called Finders Keepers. They went way back. Mel was a legend and terrible what happened to him; him dying and then Dave Holland dying.

Do you recall Peter’s band Fable? Were they around you guys?

Yeah, Fable. It was Wolverhampton and the agency was called Astra and Pete was with Fable. I saw Fable many times. We all used to congregate. It was called Club Lafayette and Astra, the agency, their office was right above Club Lafayette.

I see on Facebook there’s groups to the Wolverhampton scene from back then. You recorded the first album, the green one. (I hold up Hot Wire) This has got to be one of my favorite album covers. The Sundae. I think that’s great. Mel was writing all the songs pretty much?

Mel and Tom. Mel wrote all the songs. Tom helped out a little bit. You can see all the credits on the album. That is a great album cover – Hot Wire. It actually got in the charts.

I know everybody talks about Glenn being Trapeze in the early days but for me this one and Hold On are the best Trapeze albums. What did you think of this album? Do you have any favorite songs off Hot Wire?

I liked all ofHot Wire. “Midnight Flyer”, of course. That was always a good one. Then we got some live stuff we did. All in all it was great. So lucky to do all that. And come to the States – I still remember to this day the first time we came over to the States, flying over New York and looking down and going “holy fucking shit”. And the first place we played at was Oklahoma City. with Leon Russell and the Beach Boys in a baseball stadium in ’74. And then we flew down to Dallas and the old Texas stadium, which is no longer there, and Crosby Sills and Nash were playing and we were introduced to them. And it went on from there. Kendo lives in San Antonio. He was doing a Trapeze cover band for a while. I’m not sure how that went. But he doesn’t talk to anybody. We don’t talk to him. I’m still good friends with Tony, and Tony Perry’s daughter Susie. She does a great job. She was doing the F1, the motor racing. Now she does the MotoGP. So Susie’s a big star. She’s great. And then Susie bought a house in Wolverhampton right by Tony the dad. Tony’s got to be like 80, 81…something like that now.

I’m amazed. I know Trapeze, and there’s a number of Canadian bands like Moxy, Triumph and a few others, they had such a huge following in Texas, but then we’re much lesser known outside of that.

That’s exactly right.

There’s a Canadian band named Moxy that came out in the mid 70s and they were huge down there. And they still get invited to play down there once in a while.

Well, if you look on Spotify for Trapeze Hot Wire, the viewing figures are stunning. Lots of viewing.

Anyway, it’s great talking to Pete. What a nice guy, Pete Goalby. Me and him together, we’d be in the back of the car laughing and I was saying to Pete the other day that when we had the radio back in the day and if there was a good song that we liked, Mel had instantly changed channels, and me and Goalby used to have a good laugh. We used to play golf together, me and Pete.

I was telling him only the other day “do you remember Myra?” And he said, Yeah. Myra was my ex-wife; she’s the flight attendant. And I said, “Do you remember Myra coming over?” We went to their flat, me and Myra. I don’t know if we’d been smoking pot, but Myra decided to trim, prune this little kind of ornamental tree that they’d got. And by the time Myra had finished, there was nothing left of the tree. And I said, that’s what Pete and Mel did. He says, “Well, it grew back and we tried to smoke whatever it was, but it didn’t work out”. But Myra was smoking pot and then she decided she was going to trim the bush in Pete’s flat and there was nothing left of it. But then it did grow back.

Yeah, he had some stories about golfing with Glenn and that.

Yeah, Glenn didn’t play. I think we had one tournament when Glenn played. But we had a soccer team, the Shelby’s 11, and we played the Birmingham lot, Roy Wood and all them. You know, it was interesting times. But now I’m a big soccer fan and I’m a big F1, Formula 1 fan. And that comes from Austin in October. And it’s nothing to do with the group. So a guy comes in, I work at a restaurant, I’ve been at Cafe Pacific, it’s a seafood restaurant. I’ve been there like 42 years. This guy comes in just before the F1 race in Austin. And I’m talking to him and he says,” I can get you tickets for the Formula 1″. I said, “Sure you can”.

Anyway, so this guy comes up and he’s a home builder, must be, a millionaire. He’s got a mansion in Dallas and a mansion in Austin. So, you know, he’s going to get me tickets. So I get a text from him “Be at my house in Austin, 10 o’clock on Sunday morning”, the race on the Sunday afternoon. I took Annie, that’s a girl who works with us, she’s gorgeous. So me and Annie went down to this guy’s house – there’s 34 people there, two party black party limos with a police escort to the track. I need to tell you. I mean, that was great. We didn’t pay for anything. We didn’t have seats, we had a box, and we sat there, watched the race, went back to his house and then drove back to Dallas. And I’ll tell you something about it, just another day, saw him and I said, “We did this, we did that… ” And the guy says, “Oh, well, we normally use a helicopter”. And I said to him, “You’re not getting me in a helicopter.” At least if we’re in a plane, we may glide, you know. Helicopters don’t glide. So no helicopters for me.

Anyway. I’ve still got my Fender Jazz, and that’s the only thing I’ve got.

Do you still play at all?

No. I pick it up occasionally. But, people say “come and play”. I don’t want to go play in a garage band. I’m quite content, I’m 75.

How old are you? I’m 75. 56. No, you’re just a kid.

I was born in 50. 75. Jesus… I’m happy to still be going. I saw Lady Gaga about a week ago. I’m sure that’s not your cup of tea. But she was sensational. Sensational. Amazing show!

I want to talk about, touch on some of these other albums. The second one was a little bit a little bit more almost rockier, a little more mainstream; a little less funk, I think.

Yeah.

But then you had Glenn on a few songs as well.

Yeah, Glenn, w I think he did sing on a couple. He may have played bass as well.

What do you recall of this album? And then they did a little bit of a reunion with Glenn for a bit?

Yeah, they did. And Tony had a lot of trouble with Glenn. It was difficult, very difficult, and right through the tour, they thought about calling me back in. But it was already promoted that it was Glenn Hughes, otherwise I would have gone back in, but Glenn was very, very difficult.

But Glenn’s great now; I don’t know if you’ve seen what he looks like recently, he’s very thin, and always doing stuff. He got straight, he got off the coke earlier, and as we all do, I mean, I’m totally sober, I don’t even, don’t even drink, but I’m drinking at the moment a non-alcoholic Corona. Cheers.

Was there anything on this album that you particularly liked, or anything that…

Let me have a look…I’ll go get my, I’ve got my album on the wall.

You guys did that cover of “Sunny Side of the Street”, that was an odd choice.

That wasn’t us, that was Mel. I like “Starbreaker”, “It’s Alright”, was that the one that to Glenn sang on(?) “Gimme Good Love”, I think that was, that might have been done live, and then we did “Monkey”, “I Need You”, Soul Stealer”, “Nothin’ for Nothing”….

There’s a few ballads on there too. Did this one get much promotion?

It did, but I don’t think Warner Brothers were too impressed with it. In fact, I think we had to remix it… And that “Monkey” thing, that was a funny one.

Photo- Carl Dunn

So, you guys must have had a break after the whole thing with Glenn, and then this thing came out in Germany. (I hold up the German Running LP)

Yeah, I’m not sure that was all about, but yeah.

It’s the same album as Hold On, only different running order. That came out a good, probably a good almost a year, maybe six months before the other one (?)

I think so. Yeah.

That’s a great album. You guys worked with Jimmy Miller, do you remember much about him?

Yeah (lol). He was a bit of a character. Jimmy Miller, he was cool. He came on a few gigs with us. And then that live one, “Dead Armadillo“, the one that’s in Texas. That was interesting too. When Goalby was with the band, we played at the Armadillo, and there was like some strings on the first thing, it was recorded somehow, and then the drums came in, me and Mel would jump on the drum riser. We jumped on the drum riser, and Mel kicked the drum riser, and fell into the drums! And he (Mel) was always, something was always coming down Mel’s nose, he was like, from coke or doing whatever. And he comes over to me and he says, “Good job me nose was numb”. Oh Mel, what a character.

Was the six songs, was that pretty much all you guys played on that tour, that show?

Yeah, we hadn’t really got many songs, and of course “Medusa”, and one of the others was like 10, 15 minutes, so yeah.

And when we played at the Cotton Bowl with the Stones, I think we only played like, maybe for 45 minutes, and I think we only played four or five songs. But we always did “Medusa”, that was a good song,

You had got in Steve Bray by that point.

Steve, yeah. Dave was gone, and Steve knew all the Trapeze stuff because he’d come around to gigs. So, Steve was a good drummer and a real nice guy.

And then having Goalby in the band, and one of Goalby’s buddies was a sound engineer. So, it worked out pretty good overall, I mean.,Trapeze, the three-piece, Glenn often says, and I was talking to Susie about it, Glenn says he wished he’d stayed with Trapeze, and Susie says “Glenn says a lot”. lol

I find that hard to believe, because I don’t know if he would have had the international success he would have had with Deep Purple, correct!?

That’s right. And of course they played the California Jam, with Ritchie Blackmore. There’s no doubt about it, Glenn is brilliant — voice-wise, playing-wise, everything.

I saw him in 2018 over in Buffalo, and his energy was just unbelievable. He played for an hour and a half, and he could easily play for another hour and a half, I think.

Well, he cancelled his gigs this year for resting, he wants to rest. Well, when he used to come down to Dallas, when he wasn’t playing, he’d come down here for a, you know, a refresher on the drugs. I used to have to go find them for him. And we had a couple of hookers the one night, and me and him finished up talking and the hookers fucked off. Typical.

What’s your take on these two things? (I hold up Trapeze The Lost Tapes LPs)

Oh, interesting. I listen to them, and there’s some subtle changes. It’s good to hear them. Not a great difference, but still good.

I get the impression that some of these tracks weren’t exactly Trapeze tracks, or weren’t intended to be. Maybe they were Phenomenon tracks or something!?

Yeah, I think you’re right. I haven’t listened to them for a while, but I don’t know where I got my copies from. If Tom sent them to me, but I’ve got copies of them and everything.

What do you listen to? Do you just listen to a bit of everything?

Yeah, I do. The old stuff. I go to see the old bands. Well, it’s great to see Robert Plant, you know,he’s coming through. When I was at school, we knew Rob Plant. He was a local, ‘couldn’t get a gig, fucking guy for years’. So Rob Plant, and then I went to a soccer game with him. He was from Stourbridge, and I was a kid, and on a Sunday, the pub didn’t open until like 12 o’clock. And they were rehearsing upstairs in this pub. It wasn’t open, and I used to cycle up there, I was (I don’t know), maybe 16, 17,18, and listen to them, they were called ‘Black Snake Moan’. That was before he made it big, I listened to Planty. And Roy Wood was around; The Move, that was a real cool band. And The Who, I was a big Who fan, of course. They played in Dallas, and I got into the elevator, going to the promoter, up to his room, and who should be in the elevator, but John Entwistle, my hero! And I said to him “Oh, John I’m a big fan”, (or whatever I said). And he used Rotosound Bass Strings, the same as me. Well, I used them, same as him. And I said, “John I can remember when Rotosound Bass String were like $10”, or whatever they were. He looks at me and says “I don’t know mate, I’ve never paid for any!” Lol

*(If anyone can clarify photographers, please message me, thanks)

https://www.facebook.com/groups/melgalleytrapeze

TRAPEZE release single ‘Fighting’, from Lost Tapes vol.2

Leave a comment

the track “Fighting” has been released as the first single & video from the forthcoming TRAPEZE release Lost Tapes vol. 2, on Metalville. The track, featuring Mel Galley and Glenn Hughes,, along with Don Airey (keyboards) and Ted McKenna (drums). It comes from.sessions for the first PHENOMENA album.

https://trapeze.lnk.to/Fighting

*check out the video below. Artwork from Marcus Galley.

https://trapeze.lnk.to/LostTapesVol2

The Story Behind the Album covers: TRAPEZE ‘Lost Tapes’ with MARCUS GALLEY

Leave a comment

A new TRAPEZE album is set for release – Lost Tapes vol. 2. Like Vol. 1, which came out last year, Lost Songs vol. 2 features previously unreleased recordings from the band’s career. The band’s guitarist was Mel Galley (RIP), who was also the band’s only constant member from beginning to end, in a band that was also known for the other ‘name’ players that were there from Glenn Hughes (Deep Purple), Dave Holland (Judas Priest), and Peter Goalby (Uriah Heep). Galley was also songwriter (along with his brother Mel) and shared vocal duties. His son, Marcus Galley is a graphic designer and has created a number of album covers, most notably and recently the last year’s Lost Tapes vol. 1, and the forthcoming ‘Lost Tapes vol. 2‘. Both album covers share a theme of old tape boxes, quite cool and retro looking. I haven’t seen the rest of the packaging for vol. 2 yet, but vol. 1 comes in a brilliant package. Below is my exchange with Marcus Galley on his involvement & work on these Trapeze projects, his favorite cuts from these releases, a bit about his other work, and a bit more. I’ve included a couple of galleries featuring some of Marcus’ other designs, and links at the bottom.

Pre-Order TRAPEZE Lost Tapes vol. 2 (available on CD & vinyl) HERE or HERE

Can you tell me a bit about your own work (own your own company?) – what all does it entail aside from the few album covers I see you credited on?

I set Mammoth Creative Works up in 2010 but had been in the design industry a long time before that. MCW is mainly focused within the music industry, where I design tour and general merch, posters etc
for a lot of bands. Also book covers, album artwork, skateboard graphics, different sports brands… I’ll do anything that I find interesting really.

Prior to the Trapeze covers, you did a couple of others. Any brief recall on 1 or 2 of those?

I’d done a lot of covers before the recent Trapeze ones. A couple of which were also connected – the Phenomena albums created by my uncle, Tom Galley. Dad, a bunch of the Whitesnake and Trapeze guys and some great guest artists also played on those. Amongst the most recent, I’ve done 5 or 6 over the last couple years for a new label that specialize in 100% eco-friendly vinyl presses, they’re putting some great music out, and have a couple HUGE releases lined up for this autumn… but I can’t
talk about that yet. I’ve done a bunch of reissue covers for albums originally out in the 80’s / 90’s. It’s always fun revisiting old artwork and of course advancements in printing and computing mean you can clean up images and really go to town.

Lost Tapes Vol. 1 had such a cool retro cover concept. What inspired that whole idea, and the details involved? and can you tell me about the process involved in achieving that cover?

Thank you! I’ve got a real thing for good packaging design, and as soon as we came up with the title for the album I had the idea in my head what I wanted to do. We always had reel to reel tapes around the house and there’s some gorgeous utilitarian design on those. I took various ideas from a few. Budget unfortunately wouldn’t allow for what we really wanted to do – The idea was to house the two 12″s in a box and have loose photographs, info sheets etc enclosed, make it look like something that had been lost in the loft for years. It’d be nice to do that one day, maybe with Vol. 2 in there too. It was good looking through our photo archive here and picking which of Carl’s images to use.

Did you have a pretty firm mental picture of how you might’ve wanted either cover to look before you got started? And did you have any input from anyone else involved in the projects?

Pretty much. I did insist it was pressed on clear orange vinyl to carry the logo theme on, same as Vol. 2 being on a clear smoke grey to replicate a tape reel. I work very closely to Tom on these, and luckily, he trusts me to come up with something half decent! Tom’s very artistic too and has a great vision (sometimes too grand!) I’m pretty bloody minded when it comes to anything Trapeze related, so I’ll always stick to my guns on the look.

Lost Tapes vol 2 is a very different cover, but also very retro, and as you mention it retains that ‘tape box’ theme. I presume you’ve seen plenty of those from old recordings, etc… did you have specific recollections, photos and tapes that you might’ve used for inspiration, ideas….?

There are a few Japanese brands that had the best packaging, they just do stuff like that better over there. I’ve got folders on hard drives full of images that I know I can use on something one day. I think Vol. 2 is based on bits from three or four different ones. Of course, I’m not going to tell you which, where’s the fun in that!

Aside from the tape boxes, was there any other old LP covers that had any influence of how either ‘Lost Tapes’ covers look?

Without giving it away…yes. There’s a nod to two Trapeze albums inside Vol. 2. I recreated a couple pieces of artwork imagining how they’d look if you were to visit today. You’ll have to buy the album to see! Of course, there’s the logo used on Volumes 1 & 2, based on the logo from the self-titled album, I’ve always liked that logo, so we just recreated something similar.

As you are attached to Trapeze very personally, can you tell a bit about how much it meant to have these recordings finally released and being such a big part of it? And do you have any favorite tracks from Lost Tapes Vol 1 ?

It’s a weird mix of emotions to be honest. I’ve heard these songs in every incarnation from being hummed on the dog walk, played on a guitar sat in front of the TV etc, so I don’t get that same ‘wow!’ as someone else hearing the tracks for the first time will get, but that doesn’t take it away from the fact that I’m a fan, and it’s great to give people something new (to their ears at least) to listen to. I’d buy the album’s if I had to (I’ve had to buy all the Trapeze ones again over the last few years, as we never really had copies in the house, they were always given away to friends).
Favorites from Vol.1, ‘Goin’ Home’ for sure, Hot Wire being my favorite Trapeze album. It’s the album that sounds like Trapeze should, given the influences at the time.

Favorite tracks off Vol.2, I just put the masters on now to listen again. I’d say ‘Can You Feel It’, ‘Turn It On’ & ‘Midnight Flyer’, but they’ve always been favorites anyway. They sound like Trapeze should sound, a great groove. The couple gigs I played drums for my dad, we did ‘Way Back to the Bone’ and ‘Coast to Coast’ in the set. We were just about to start rehearsing for another couple gigs when he got taken ill, so that was a shame we never got to play those. There’s a CD here in my office that he sent with the 24 songs to learn that were going to be in the set.

As one who creates album covers – do have a short list of some of your favorite album covers or favorite artists (album designers)

A short list!?!?! are you kidding!?!? I’ve always bought records; I’ve spent a fortune over the years on albums just because they had a great cover, so to narrow it down is a tough call, and definitely not a short list.
Barney Bubbles could do no wrong in my eyes, a huge inspiration. Hipgnosis, Stylorouge, tDR (of course), Vaughan Oliver, Peter Saville, all absolute genius. I could go on all day…but they’re the first names that come to mind.

Might we see either of your Trapeze album covers be used in official merch for fans? (t-shirts, posters)

I hope so! Prints are a thing I’d particularly enjoy to do, mainly due to the size and unlimited colors you’ve got to play with, especially of the two reimagined pieces I mentioned a few questions ago for starters, but we’ll definitely do shirts. They’ll have to be slightly different to the Vol. 2 cover, that nine color screenprint would come out super expensive! Merch based on old promo bits has always appealed to me, there was a cool raglan / baseball shirt and coach jacket I’d like to make available at some point.

The Warriors one there is a giant poster to mark the anniversary of the
film, there’s a t-shirt and a double-sided picture disc too – MG

LINKS:

https://www.facebook.com/MammothCreativeWorks

https://www.instagram.com/mammothcreativeworks/

https://twitter.com/MammothCW

http://www.mammothcreativeworks.co.uk

Trapeze – Lost Tapes Vol. 2… Swinging Your Way This November!

https://www.facebook.com/groups/melgalleytrapeze

TRAPEZE – Lost Tapes Vol. 1 (a review)

3 Comments

TRAPEZE was a British band, perhaps better remembered for the players that were in it and went on to bigger success with other acts, instead of the of excellent albums they made in the ’70s. The band existed from 1969 til 1981 (or 82), and seems to be best known as the band that Glenn Hughes got his recording start in. But, TRAPEZE was not particularly just Hughes’ band; in fact the band based around the guitar sound of Mel Galley carried on well after Hughes left to join Deep Purple in 1973, and released a few very good albums in the latter ’70s. The band also featured (drummer) Dave Holland before he joined Judas Priest, and their last recording line-up – Peter Goalby, before he joined Uriah Heep. Mel Galley was there beginning to end ’til he had an offer to join Whitesnake, so I think it’s safe to say that Trapeze was Mel’s band.

This 14 track album of previously unreleased and unheard material is a most welcomed addition to the band’s catalogue, which in recent years has been reissued in expanded versions, compilations and live releases, undoubtedly bringing back the name Trapeze to many who previously may not have been very familiar, myself included! My initial interest years back was the Hughes-Deep Purple connection, and the Peter Goalby connection (being a Heep fan), and Hold On (the band’s last studio album) remains my favorite. The band’s debut featured a 5 piece band that was signed to the Moody Blues label, but Trapeze seemed to be best remembered as the short-lived trio that released the 2 classic albums Medusa and You Are The Music…We’re Just The Band. After Hughes left, Mel Galley took on lead vocals as well, and added guitarist Rob Kendrick and bass player Peter Wright, and recorded the classic Hot Wire (love that album cover), followed by Trapeze (self-titled), Running/Hold On (with Peter Goalby), and the Live in Texas: Dead Armadillos. Lost Tapes Vol. 1 features tracks from the band’s early days right through to the end with Goalby, and a few from the band’s short-lived reunion in the ’90s. Though the songs aren’t in chronological order, this album features a pile of outstanding Trapeze tunes that might make you wonder why this stuff has never surfaced before. Trapeze was known for their funk-rock style, something that made them a fairly unique band in the ’70s, though often lumped in with early ‘heavy metal’ acts, they were far from it, though they could deliver some heavy hard rockers, and here we get standouts like the heavy Hughes’ sang “Breakdown” – which sounds so fresh one could easily mistaken this for a much more modern recording. There’s the ’80s production sound of “Destiny”, the funkier “Lover”, and closing track “Going Home” (which is a heavier take of the song that appeared on 1974’s Hot Wire).

Lost Tapes also features 3 tracks with Goalby on vocals, including the first one “Cool Water”, an excellent catchy feel-good rock tune, and one of many to feature a memorable guitar riff/intro from Galley, who also doubles up on the vocals on this, with a solid drum performance from Dave Holland (RIP). There’s also the memorable “You’ve Got It” from this era, featuring some excellent slide guitar as well. But my favorite track here is Goalby’s “Who Do You Run To” (the one song written by PG, himself here), absolutely outstanding late ’70s hard rock with influences from the period, a killer little intro and chorus. (Maybe someone can explain how this chorus and similar title ended up on the 1982 Hughes-Thrall album!?).

This makes a great addition to the Trapeze catalogue for fans of the band. The 14 tracks here are all well worth hearing; this is no exercise in ‘cleaning out the vaults’ of anything and everything, this was properly put together for fans to enjoy, and a tribute / reminder of this great band. One of my favorite releases of 2023! I am curious and looking forward to a Volume 2 (presumably there will be!?) Lost Tapes Vol. 1 can be purchased in digital form, CD, and limited orange vinyl (which I am awaiting!)

LINKS:

https://trapeze.lnk.to/LostTapesVol1

https://www.facebook.com/groups/melgalleytrapeze

https://metalville-shop.de/neuheitenpre-order/2200/trapeze-the-lost-tapes-vol.1?number=FLY-MV0302

MERV SPENCE – Phenomena Recovered interview

Leave a comment

Irish singer & bass player Merv Spence more recently released Phenomena Recovered. A solo project that saw him revisiting many of the Phenomena tracks from the 80s & 90s. Phenomena was project in that was conceived by producer Tom Galley and his brother, guitarist – Mel (Trapeze, Whitesnake). In this interview, Merv details his involvement in Phenomena, his new release, as well as talks about his time with Trapeze and Wishbone Ash, other recordings, and what else he’s been up to in recent years, *For more on Phenomena Recovered see my previous post on it’s release, and check out the links below.

How did you originally get involved with the Phenomena project? (You were first involved as Exec Producer on the Inner vision album, correct?) 

I knew Tom Galley (the creator of Phenomena) from when I was in the band Trapeze. While recording songs for a new Trapeze album (circa1982) unbeknown to me we also started recording some pre-production song ideas on what would become the birth of the debut Phenomena album. The Trapeze album was never completed as Mel Galley was offered Whitesnake and I then went on to join Wishbone Ash. It was many years later (circa 1990) while working on an album in Switzerland; I got a call from Tom who had just completed recording Phenomena III. He basically told me that BMG rejected the album and asked if I could help place the album with a new record company in Europe. To cut a long story short no major label wanted to get involved due to legal issues between Tom and BMG, so he asked if I would be interested in acquiring Phenomena and offered to sell the entire Phenomena concept and copyright to me, which I accepted. To secure a commercial release, I first had to clear a backlog of debts built up on the production of Phenomena III. This included unpaid studio fees, musicians, engineers etc. as well as negotiating and reaching an acceptable agreement with BMG to release the Master Tapes. It was a nightmare to sort out but I managed to resolve things. I managed to secure a successful release in Sweden with Phenomena III (Inner Vision) reaching no12 in the album charts. After that other territories approached me to license the project.


This new release includes the tracks (remastered!?) that you originally recorded in 1995 for the Initiate album. How did that album come about? Why the recordings of Phenomena tracks then, as well as under the name of O’Ryan? 

Around 1994, a copy of my first solo album O’Ryan “Something Strong” fell into the hands of AVA Aura Ltd., a new Japanese music & media company who had set up offices in London. They had major investment for acquiring new media and music projects in the UK and when the MD heard my debut album, he contacted my solicitor to set up a meeting. They wanted to work with me on a new album and offered me a deal I could not refuse. I already had my own studio and I was given full creative control. MD of AVA Aura Hisa Seki selected all the songs he wanted me to re-record for the Initiate album and even though it was kind of a weird concept? I accepted the challenge. I installed an old 24track 2-inch Soundcraft analogue recorder in the studio with a Mackie 48 cannel desk and the entire album was produced using this format. My main objective was to try and arrange and produce the songs with a different interpretation to the originals, which was no easy feat. Engineer/Producer Simon Hanhart, Co-producer Jason Fillingham, and myself mixed the album at PUK Studios in Denmark. The name O’Ryan was an Irish pseudonym I choose to use rather than my birth name but with the Phenomena Recovered reissue I choose to put it out under Merv Spence.

How was the reaction to Initiate? It was only released in a few territories!? 

I think it was received very well but like any album everyone has an opinion, some people will love it and some will not. When I finish an album I tend to let it go and I really will not listen to it again for a long time. I had no control over the release or the distribution in other territories but I did travel to Japan several times for promotion. Also one of the songs (Emer May) was used on a TV advert in Japan for a sports car which helped. The people at AVA Aura were great to work with and very enthusiastic but had no real experience of the Music Industry and doing music business in the UK and Japan is so different. They took up the option to record another album with me that I started recording in 1996. Unfortunately due to ill heath with the MD, the relationship with AVA regrettably terminated.
 
How did this new release (to remaster, reissue, and record) the Phenomena songs come about? 

Explore Rights Management Ltd. approached me and put the suggestion of remarketing and reissuing the Phenomena tracks on “Initiate”. They also asked if I would be prepared to record a couple of additional bonus songs. The song “Slave” that is also an additional track has a strong connection to the visionary/artist William Blake and inspired me to use one of his paintings for the front cover. “Slave” was originally written and used on a film called “The Gnostics” (circa 1987) which I updated it for a new Phenomena album. The lyrics are a combination of a William Blake poem and additional lyrics I added to enhance the song commercially.
 
There are 2 brand new recordings on this release – what inspired those, and can you tell me details about recording them (who else is involved, etc..)? 

I wanted to keep the continuity of the Phenomena theme so I picked “Rock My Soul” & “Dance With The Devil” to record as the additional bonus tracks. I originally was going to record the songs acoustically but I kind of got carried away creatively with the arrangements in the studio. Like most musicians or producers I have a small writing setup at home and the majority of the material was recorded and produced there. I did record acoustic guitars and some live vocals on “Rock My Soul” in Donegal on the West coast of Ireland, which are the main template of that song. You never know how things will transpire which is part of the magic.


 
Going back to the beginning, can you tell us a bit about your beginning in music – influences, earliest bands…? 
 
Being born and brought up on the East Coast of Ireland I had and still have a really strong connection with traditional Irish and country music. Artists like Neil Young, America, Horslips, Eagles heavily influenced me, as well as a great Irish songwriter called Jonathan Kelly. I first heard Led Zeppelin II at my grandparents, a copy that my uncle had bought before immigrating to Canada. From listening to that I got into more progressive acts such as Pink Floyd, Yes, Deep Purple and Rush. I got my first guitar at aged 13 (a 6 string Eko Ranger acoustic) and the first song I ever wrote was entitled “Money Man”. I left Ireland for UK mainland when I was sixteen to train as an engineer but it also gave me the opportunity to get closer to the UK Music Industry. I qualified after four years and by this time I was already playing bass and singing lead vox in local bands in and around The Midlands (The birthplace of heavy metal). I was in a three-piece band called Big Daisy & later Jury with musicians Degg Newman (Drums) Roger Fox (1st Guitarist) Tim Rowe (2nd Guitar) and we recorded our first single at Woodbine Street Studios in Leamington with Producer Johnny Rivers. We continued to record a lot of material, which eventually was released on the Big Daisy debut album on both 12” vinyl and CD on German label HR Records (circa 2014)

How did you get involved with Trapeze? Can you give details on that period – who else was in the band still, how long and (roughly) how many gigs this was? 

Some people recommended me to Mel Galley and he just turned up at some of the Big Daisy gigs. Trapeze (circa 1982) was made up of Mel Galley (Guitars & Vocals) Richard Bailey (Keyboards) Steve Bray (Drums) Kex Gorin (Drums) and myself (Bass & Vocals). We went into rehearsals at the Managers nightclub/music venue in Wolverhampton and performed a few warm-up shows round the Midlands before embarking on a UK tour supporting Edgar Winter in 1982. It was a very short period of this line-up before Mel left to join Whitesnake.
 
Trapeze ended when Mel joined Whitesnake(!?)  But had the band recorded an album while you were there? And what became of these recordings? 

I have a live cassette recording of 2 shows in 1982 (Oxford & London) from the Edgar Winter tour, which was taken off the out front mixing console. Some of the new songs were included in the live set. I also have a cassette copy of several recordings from the unfinished studio sessions before Mel Galley joined Whitesnake.
 
You also joined Wishbone Ash for the Raw To The Bone album. How did the WA gig come about? 

I got a call from a musician friend who told me bass player Trevor Bolder had left Wishbone Ash and that the band was after a replacement bass player. I put a call into their manager John Sherry and an hour later I was asked if I could come to London the next day as the band were in rehearsals. I turned up and did about three/four songs and went home. I got a call from Andy Powell about 11.pm that night and the following week I was off on a 6-week tour of America. I then went on to take front of stage as bass player/lead singer and I was actually in the band for about a year before we started recording Raw to the Bone. We recorded the album at Surrey Sound with Producer Nigel Grey and I continued to tour with the band internationally for about four years. Touring is an amazing life if you have no ties but I left after my first daughter was born.

 
Raw To The Bone was a more hard-rock (for the times) Ash album, and you are credited as a co-writer throughout. What are your thoughts on this album and your contributions to it? Did any tracks come directly from you? 

When I joined WA I think the band were at a crossroads in they’re career needing a bit of enlightenment in finding a fresh direction and I do not think the guys would disagree with me on this. After a very successful career with MCA Records and headline tours in America the guys were slightly lost and without a record deal. When we went into the studio to start work on Raw To The Bone I did bring a lot of new song ideas but everything was democratic and it was agreed we all have an equal split, no matter who contributed the ideas. As a lead singer my vocal style would obviously give the songs a slightly heavier edge and I respect the guys for giving me the opportunity without manipulating this. But we must also appreciate that WA is predominately a highly respected guitar band who were responsible for creating that classic twin lead guitar technique and the band still continues to pack audiences in all over the globe. As a musician, songwriter and producer I do not create music or compositions to please fans, I just do what I do as a creator and if the fans like it great if not tough. Again I did not listen to the album for a long time but, when I have done guest appearances with the band, the fans demand certain songs off that album. I am very proud of it.
 
Any other ‘name’ band offers over the years? 

Yes, I have worked on a number of albums in Europe and have been in rehearsals with various named musicians for new and existing projects but I would rather not say who they were. Some times the chemistry is just not right or I was not really interested. One project that was fantastic came about when I started writing songs with a partner in Germany. The songs were so good and we both signed an amazing deal with Warner Brothers International. We recorded the album in Germany and mixed it in Nashville with Producer John Guess. We delivered what I believed was a great album but some at Warner’s thought different. To this day I am not sure why Warner’s had an issue but through the grapevine I was told someone felt my lyrics were too political for the label? In the end they paid us off and I demanded that they also sign the Master tapes over to us. This album ended up being my debut solo album O’Ryan “Something Strong”. When rock music went through that “Dinosaur” period (circa 2000) of not being cool I got more involved in Artist Development, Artist Management and promoting major outdoor Events.
 

What else are you currently up to — any recordings, live gigs? 

I relocated back to my native Ireland in 2016 and as well as continuing to write and produce music, I embarked on a DL Masters Degree in Music Composition at Bath Spa University qualifying in 2019, I am also in the first stages of a PHD. Pre Covid I was in discussions with musicians and Management in Sweden to record a new album with the objective of touring in 2020 but covid unfortunately terminated that idea. The pandemic was a really difficult time especially for the creative industries with an unknown resolve but I tried to keep busy working on songs and developing projects. I currently have two albums that I am updating for reissue with additional tracks and new artwork. The first is my debut solo album “Something Strong” (circa 1987) and the other with the working title (Insurrection) has never been released, I have also written about 20 new songs for an acoustic album that I hope to start working on in December 2023. There are various other ideas in the pipeline and since the release of Phenomena Recovered; several labels in the UK, Europe & Japan have approached to get involved. My plan at the moment is to just get the product right and after that I will make a decision about releasing and possibly doing some acoustic live shows.
I have no rules when it comes to the creative process and started creative writing and script writing during lockdown. I have a film script in development entitled “The Maidens” that I hope to produce as a film short but the logistics are a bit difficult as the story is based around two abandoned lighthouses off the East coast of Ireland.

LINKS:

http://www.mervspence.com
http://web.archive.org/web/20200220020559/http://www.phenomenaproject.co.uk/music.php

https://www.cherryred.co.uk/product/merv-spence-phenomena-recovered-cd/

TRAPEZE issue 2nd single from ‘Lost Tapes Vol. 1’

Leave a comment

There is a new TRAPEZE single from the forthcoming Lost Tapes Vol. 1 album. The song is “Destiny”, and it’s described as coming from one of bands early recording sessions, tho’ I think it sounds much later (IMO). Regardless, another fine track that makes me wonder why this never found a release when it was recorded (??) And also, the more I hear (as with the first single “Breakdown”)) the more I am looking forward to this new release. Featuring (again) Mel Galley, Glenn Hughes, and Dave Holland.

*Pre-order Lost Tapes Vol. 1 at – https://trapeze.lnk.to/LostTapesVol1

TRAPEZE – release single from upcoming ‘Lost Tapes Vol. 1’

Leave a comment

TRAPEZE, the classic 70s British rock band from Wolverhampton have a new single out from the forthcoming Lost Tapes Vol. 1, CD, to be released November 24. The song “Breakdown”, featuring Glenn Hughes, Mel Galley and Dave Holland was recorded in the 90s. Check out the video clip below. *For more info check out : https://ramzine.co.uk/news/trapezes-breakdown-available-now/

Glenn Hughes and Robin George: ‘Overcome’ to get official release

Leave a comment

To be released on November 24 through Cherry Red is the long-lost collaboration by Glenn Hughes and Robin George. Originally recorded in 1989, this 13 track CD comes from the original tapes, and also features other former members of Trapeze.

A chance meeting between Glenn Hughes and Robin George eventually resulted in an invitation for Glenn to sing backing vocals for Robin and Sean Harris’ Notorious album, which lead to a full collaboration between Robin and Glenn. The album started life as a solo Robin George record and developed into ‘Overcome’, complete with four songs co-written by the pair; ‘Number One’, ‘Sweet Revenge’, ‘Don’t Come Crying’, and the title track.

Such was the faith and strength in the new recordings, that a major label deal was struck but fell through, leaving these recordings to languish in the vaults. Glenn is on fine form on the album, and among the 13 tracks of melodic, and occasionally funky, hard rock, one special treat is the track ‘Haunted’, essentially recorded by a reformed Trapeze, featuring Dave Holland, Mel Galley and Terry Rowley.

Glenn Hughes has quite rightly been hailed “The Voice Of Rock”, and for good reason. With a career that kicked off with Mel Galley and Dave Holland in Trapeze in 1970, followed by Deep Purple between 1973 and 1976, Glenn would also form Hughes / Thrall, join Black Sabbath, enjoy a successful solo career, collaborate with artists as varied as Gary Moore, Joe Lynn Turner and the KLF, founding Black Country Communion and California Breed, and fronting The Dead Daisies.

Over the years, Robin George has collaborated with many musical legends, from Led Zeppelin’s Robert Plant, Thin Lizzy’s Philip Lynott, Uriah Heep’s David Byron, UFO’s Pete Way, John Wetton & Asia, Daniel Boone, Raymond Froggatt and the Quireboys’ Spike.
As a native of Wolverhampton, it’s no surprise that a musician of Robin George’s caliber would cross paths with local heroes Trapeze.

TRACK LISTING:

1 Flying
2 Overcome
3 I Want
4 Haunted (featuring Trapeze’s Dave Holland, Mel Galley & Terry Rowley)
5 Number One
6 Sweet Revenge
7 The American Way
8 Machine
9 Steal My Heart
10 Things Have Gotta Change
11 Don’t Come Crying
12 Loving You
13 War Dance

LINKS:

https://www.cherryred.co.uk/product/glenn-hughes-and-robin-george-overcome-cd/

http://www.robingeorge.co.uk/

TRAPEZE – Lost Tapes Vol. 1 to be released

1 Comment

British band TRAPEZE were perhaps best known as the band that featured musicians who went on to big bands, notably Glenn Hughes (Deep Purple), Mel Galley (the band’s leader & mainstay – Whitesnake), Dave Holland (Judas Priest), and (later) Peter Goalby (Uriah Heep). Throughout the ’70s TRAPEZE released 6 studio albums, with various line-ups, but the band has seen a resurgence over the last decade or so with the release of archive live releases, CD box sets and compilations. But now we await the release of previously unreleased material from the ’70s on ‘Lost Tapes Vol 1’. 14 tracks from various line-ups of Trapeze later next month, on various formats. *For more info, check out the press release below….

When rock band Trapeze called it a day, they left behind them a series of now classic albums. Their influence on other groups has been immense; individual members themselves going on to join heavy weight rock acts such as Deep Purple, Whitesnake, Judas Priest & Uriah Heep. But their story’s not over, as TRAPEZE – LOST TAPES VOL. 1 will soon reveal!

These are tracks recorded on tour, and either side of album releases; great songs that were stockpiled just never released as the various line-ups hit the ground running, playing live relentlessly; honing their craft while rarely seeing home.

However, guitarist Mel Galley did take those tapes to his elder brother Tom’s house. There, they – as co-writers of many of the band’s best-known songs – would review them, making various decisions that felt right at the time. Mel also had the foresight, to leave them with Tom for safekeeping, so they didn’t get lost.

“One of Mel’s last wishes, before he passed away, was that I’d get together with Trapeze manager Tony Perry and put all these things together,” said Tom Galley, who went onto produce the celebrated Phenomena album series, “And that’s what we’ve done!”

LOST TAPES VOL. 1 is an opportunity to hear Trapeze with all the primal energy of young men stretching out; demonstrating there was even more untapped potential between the musicians involved than had hitherto been imagined.

Smashing the doors open across America by pioneering a heavy funk rock sound that would later be taken up by The Red Hot Chilli Peppers, Extreme and others, back in the 70s Glenn Hughes (Vocals, bass), Mel Galley (Guitar, vocals) & Dave Holland (Drums) barely had time to catch their breath while stepping into studios to lay down several unique songs that you’ll find on this collection, as well as tracks later recorded at Garage Studios in the UK during their 90s reformation.

Strident hard rocker ‘Breakdown’ comes from that latter period. “This features Glenn singing – His voice is one of the wonders of the world!” Tom remarked, and it truly is, the song sounding immensely fresh and contemporary even today. From the same period, with ‘Don’t Let Them Push You’, it’s a case of “More cowbell!” and Mel’s guitar weaving tirelessly with him also taking lead vocals.

On the trio’s older tracks, with songs like ‘Bad Kid From School’ and ‘Enough Is Enough’, it’s their classic sound you’ll relish hearing afresh. “I was able to get that funky heavy rock sound out of those old tapes – And that’s what I call the Trapeze style!” With various co-writing tracks from that period recovered, Tom also noted how ‘Catching Up On You’ had ”started off as an instrumental but they decided to add vocals.”

These tracks embrace both powder-kegged bravado performances as well as the band’s more nuanced emotional side – With nothing off limits as the musicians involved can be heard exploring their potential both collectively and as individuals. Powerful with deft time changes, tinged with subtly or bleeding out ferociously; belting rockers find them surging forward as one only for a propulsive rhythmic heartbeat to take hold over which solos soar.

Initially a five-piece patronized by The Moody Blues, even as that line-up fractured, Galley, Holland and original keyboard player Terry Rowley went into 10cc’s recording studios and some of those songs will also see the light of day for the very first time on this record. “Destiny’ and ‘Lights Of Tokyo’ were songs that were overlooked and never ended up on an album,” recalled Tom. Important pathfinders on the band’s journey they pre-empt the heavier rock & progressive sounds that the band would find acclaim with, beginning with 1970’s Medusa album.

Following Hughes’ joining Deep Purple, Mel Galley took the helm; both singing and playing guitar, while bringing in bass player Pete Wright and second guitarist Rob Kendrick. This was their 1974 Billboard charting Hot Wire era, finding them particularly prolific laying down tracks in studios like Island in the years either side. ‘Going Home’ is a fiery arena-ready alternative rendition of that album’s classic pinpointing exactly why The Rolling Stones had Trapeze open for them back then.

From a little later we get ‘So In Love’. ”If you listen to ‘Chances’ on the second self-titled Trapeze album; it’s So In Love with different lyrics, sung by Glenn, and Mel sings this, ”we’re told of a more melodic number. Likewise, ‘Lover finds the guitarist in particularly good form on vocals. Blending funk rock with a little soul, this so should have been a single, back in those days when music crossed the airwaves without fear of genre-boundaries, and only good taste mattered.

When Kendrick joined Budgie, Pete Goalby came forward and stepped up to the mic; oozing impressive vocal charisma and allowing Galley a chance to ease his voice. From that late ’70s golden patch we get the mainstream appeal of ‘You’ve Got It’ and ‘Who Do You Run To’ while on ‘Cool Water’ it’s slick, funky with a blues rock edge that’s sat somewhere in between The James Gang and Little Feat in their prime. “Mel wrote and sang on an original version, but this is a version with him and Pete both singing. It also had Terry Rowley on keyboards,” recalled Tom, noting the ongoing bonds between former members, before astutely noting in conclusion:

“This collection of recordings show not only how good the various line-ups were, but capture the passion and excitement of the creation of the songs themselves.”

Never a band who stood still. These recordings are often paths less taken. Had time, circumstances and other opportunities not proved otherwise we can only imagine what heights Trapeze would have reached… As listeners will discover, LOST TAPES VOL. 1, features Trapeze songs as classy as any on their previous rock album releases, with some likely to become classics still!

TRACK LISTING:
Cool Water
Lover
Breakdown
Don’t Let Them Push You
Destiny
Lights Of Tokyo
So In Love
Bad Kid From School
Catching Up On You
Do You Understand
Enough Is Enough
You’ve Got It
Who Do You Run To
Going Home 

LINKS:

http://www.metalville.de

https://www.facebook.com/Metalville

https://www.facebook.com/groups/melgalleytrapeze

PETER GOALBY – An Interview On His Early Days with Fable and Trapeze

2 Comments

Prior to Fable you were in a few local bands. Did you write or record anything then or did none of that happen til Fable?

My first band was the System, I think I must still have been at school. We practiced in a youth club twice a week. When I left school we were offered a gig in Hamburg Germany. I had to pretend to be a roadie as I was under age to work in Germany. So I was there illegally.
After the system I was in a band that became Aarons Rod, We did some quite obscure stuff. Kevin Bray Lead guitar introduced us to some great music . I sang “All Along The Watchtower” and stuff from the band Mountain, a lot of American bands from that time.
Dave Millington was on Bass – another very good player, and my school friend who had been in the System with me – John Waterfall. John was a very loud drummer, which I loved.
I think I started writing around that time with Aarons Rod. We did not get many gigs as some of the material was a bit off the wall but we all loved it and it was all part of the school of rock I suppose LOL

Was your family always supportive of your music career? Did you get help or advice from anyone at home?

I was brought up by my grandparents. I did not get any support. Really, I think they thought it was a fad.

Do you recall the first song you ever wrote?

I can not remember . I can remember I wrote some pretty bad ones though, folky type songs .

In those earlier bands do you recall what types of songs you played ?

Anything that was around at that time. I have sung everything from “My Way” to “Blowing In The Wind”

Fable was already going with a female singer, before you joined,  Do you recall how you joined the band and how the band changed then as far as what you played or your goals were?

Yes, I actually said No at first but Lynne, my then girlfriend – now my wife, said I was mad to say no as they were very good musicians. So I changed my mind. It was a great band. We played all sorts of covers of the day, ’70s songs . Great times, lots of harmonies . I was into all that.

Can you tell me about recording the Fable album – how songs were chosen, put together, recorded..? How long did recording the album take and who all was around?

I started the writing. It is funny looking back. We would be playing a gig and I would spot people in the audience. People from record companies, they were looking with a view to signing us . A guy called Peter Shelley came a good few times and would come back stage after the gig. He was very interested . I got on great with Peter . A few other record company A and R men were also looking at us . We decided to sign with Peter at Magnet Records. I think we did the album at Trident studio although I might be wrong . I do remember the engineer Mike Stone. He was doing another band in the night time sessions, He used to play us what they were recording. It was a new band called QUEEN. Freddy and the boys no less.
I think we took about 4 weeks to do our album.

While recording Fable did you ever bump in to or meet the members of Queen then?

 No not at that stage but I did meet Brian May at the L A Forum when I played there with Heep. I walked into Joe Elliott’s dressing room and there was Brian sitting on a couch with Phil playing his Red Devil guitar.

What sort of gigs did Fable play – mostly local or travel much around the UK or outside?

We were very much in demand . Doing maybe 35 gigs a month. Some nights 2 gigs. Lots of clubs, universities all sorts really, all over the UK We also did the German clubs – The Star club and the top Ten club

Any stories from live shows back then?

One night Fable were playing a gig and the audience were all sitting down, it was a working men’s club . No one was dancing at all , not the best atmosphere. We used to do 2x 45minute spots. When we came on for the second spot Mac Bailey, lead guitarist, had stuck a piece of wood down the front of his leather trousers. I could not sing for laughing . The dance floor was quickly packed with girls dancing .

Any ‘big name’ bands that you shared a bill with?

We played with everyone who was big at that time. ELO, Hot Chocolate Suzie Quatro. Sweet, Mud. Manfred Mann.
When we played with Manfred they had a hit single out called “Joybringer”. As we were on first we played that song . Our version sounded better than the Manfreds , as was the case when we opened for all the chart bands of the day

Do you have any favorite songs from that album or stories pertaining to any of your lyrics on it?

I have not played the album in years. We were just learning. I had no real direction . It was a real mixture of styles musically. I was just happy to come up with any idea at that time. We all were .

What do you recall of that album cover and, in particular the band photo by that tree on the inside?

It was a great tree in Kew gardens in London . Great picture but can not really see who is in the band.

You wrote for other acts in the ’70s, in particular The Bump by Alvin Stardust. Can you tell me a bit about how that song came about, what sort of inspired it?

Yes , We used to play in Scotland a lot and at the time the kids started doing this new dance , they were Bumpin’. I had an idea to write a song called ‘The Bump’. I called Peter Shelley and told him . He said great idea . Magnet got a dance group to record it . I had to rehearse them into the song, they were loving it. It was on TV a few times. Then when Alvin did his album Peter produced it and got Alvin to do ‘The Bump’. I have a Gold disc on my wall for that song .

Do you recall any other songs you wrote that other artists recorded back then?

Yes , I wrote a song called ‘Falling Apart’. This was recorded by Smokie on one of their albums. I also got a Diamond Disc for this song . It was a huge hit in Norway , so that’s on my wall also.

You also recorded a few singles as a solo artist. Do you recall much about writing or recording these and if any received any radio play or local interest?

When I left Fable I had a solo deal still with Magnet. We did 2 singles , ‘Ain’t It Funny’ and ‘You Are Day You Are Night’. I did not write the latter, although I did really like the song. It was very much like a Walker Brothers tune.

You obviously were familiar with Trapeze. How did the offer to join the band come about? Or did you audition?

Yes I knew Glen. We used to play golf together. When he got the job with Purple Mel took over lead vocals for a while but kept losing his voice. So I was asked to audition. It was really great stuff from the off. I had 3 new songs – ‘Livin on Love, ‘Don’t Ask Me How I Know’ and ‘When You Get To Heaven’. We rehearsed them and – Wow, it was great!

What do you recall of recording the studio album with Trapeze? Any recall on putting together songs, working with Jimmy Miller, etc…?

All 3 made side one on the Hold On album, I was so chuffed . Jimmy Miller was great. He did not add a lot he just let us play and he recorded it. He did have great feel, nice man. There were no co-writes, I had my songs and Mel had his which he wrote with his brother Tom Galley. Tom did the lyrics for Mel.

What do you recall of the tours and shows you did with Trapeze– as far as who you toured with, biggest venues and crowds, countries you played….?

America was the place for Trapeze, in fact Texas. They were huge in Texas. I could not believe it. They loved Trapeze. I remember doing the Texas Jam . One night in Dallas one night in Houston. Both stadiums. A year later I did the very same 2 gigs with Uriah Heep.

How was response from radio or press to the Hold On album? And what were your favorites on it?

My songs of course but I loved ‘Don’t Break My Heart’ . I sang it really well I hope . I Love that song
Not much radio, really . I had to fill the boots belonging to Glen which was quite a task.

Was a 2nd Trapeze album planned or started? And was there a break prior the band playing that final tour?

Mel was being chased by Coverdale. Dave Holland was offered the Judas Priest job Pete Wright wanted to go and live in America. We were hanging on for another record deal.as long as we could. We went to America but before we went I was offered the Heep job . The rest is well written.

photos courtesy of Lynn Everett

Regarding Live In Texas – was there more tracks played and recorded that didn’t make the album?

I think that was the whole show, I think so

Any tales from your very early days or a road tale from Trapeze. . (Re Glenn — did you ever read his book? )

I remember coming back from Hamburg before Trapeze days I was friends with Glenn even then. I had bought a suede coat with tassels like Wild Bill Hickock style. Glenn went crazy over that coat, he loved it. I think he would have killed to own it. I did sell it to him so he let me live. He later wore it on stage with moccasins to match. He looked great.. He looked like an apache Indian with his long hair.
I did not know he wrote a book. Am I in it? I should be. Even when he joined Purple he never changed, not with me anyway. He picked me up to play golf one day. I heard this loud music coming around the corner, yes it was him driving a Bentley open top!

Aside from the Texas Jam gigs with Trapeze, do you have any particular favorite memory of that band [and members] ? 

A guy that does not get much of a mention is my dear friend Pete Wright, great player to work with. He is nearly as funny as John Sinclair. Pete was always reliable, great bass player, great person to be in a band with. If we were down Pete would cheer everyone up. Very happy all the time. Nothing seemed to upset him apart from when Mel kept changing the radio station in the car. It drove us all mad. For Christ sake Mel!

Prior to joining Heep, what did you know about the band, (aside from all the line up changes)?

I knew of them of course they were a huge band worldwide. I do remember Mel saying to me that my musical career was going backwards by joining Heep . I did prove him very wrong on that one.

Had you ever seen Heep live in the ’70s with David Byron? or know any of the actual songs that you would later sing? 

Never saw Heep before I joined . I had heard ‘Easy Livin’ , ‘Gypsy’. ‘The Wizard’. That’s all I think.

Ashley Howe was key to you joining Heep and was great for you and the band as producer. Can you talk a bit about your connection to Ashley and how he got the best out of you and his importance to the band at the time (81-83)?

Ashley I love you . Ashley found my big voice. He was the greatest. Abominog would not have happened without him. Simple. He brings out the best in everyone he works with. I learnt so much from him on that record. Why we did not use him on Equator – God only knows. History may well have been re-written had he produced Equator

Were you happy with Heep’s take on ‘Blood Red Roses’, and do you think (or how) you would’ve done it any differently?

I wrote that song for Mick Box ’cause he asked me for a song for Raging Silence. I think they did a great job and I am glad it was a success for them. They got it nearly spot on . I would have been more laid back and moody in the verses. But I might have been wrong . Bernie did a great job, thank you Bernie.

Obviously you are happy with the response to Easy With The Heartaches. Has the experience (so far), inspired you to want to clean out your vaults of more recordings from your past?

I have been asked for another record , we will have to wait and see.

AND – has it inspired you (at all) to want to pick up a guitar and play – even if for yourself or family members?
No

*You can order Pete’s debut solo album Easy With The Heartaches, as well as Leavin’ The Hard Times Behind : The Best Of Trapeze – check out http://www.cherryred.co.uk

*If anyone out there happens to have any photos or stories of the band Fable, please let me know. Would like to revisit this album in the future.

*For more on Peter and Trapeze – visit these groups of Facebook – https://www.facebook.com/groups/petergoalby & https://www.facebook.com/groups/melgalleytrapeze , & http://www.uriah-heep.com

*thanks to Lynn Everett for the photos [including the top pic]

KJ, 02/’22