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GALAHAD

Neo-Prog • United Kingdom


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Galahad biography
GALAHAD formed in 1985 just for fun playing roughly half covers (GENESIS, ZEPPELIN, RUSH, SABBATH, FOCUS etc) and half original material. Galahad then supported a few fairly well known 'Progressive' bands that were coming up at the time including IQ, PENDRAGON, HAZE and later PALLAS and MAGNUM.
Then, after mixing it with the slightly 'bigger boys' GALAHAD decided take it more seriously, and began playing only original material resulting in the release of their first proper album in 1991, 'Nothing Is Written', which was purely self -financed and released independently but which went on to sell several thousand copies.

The success of 'Nothing Is Written' was also helped by the fact that the band received substantial air play on BBC Radio One, especially on the Radio One Rock Show hosted by the late, great Tommy Vance. The band then landed themselves with deals in the UK, Japan and Germany.

The band has now released fifteen albums including albums by main band offshoots such as GALAHAD ELECTRIC COMPANY and the GALAHAD ACOUSTIC QUINTET. The band has played hundreds of gigs in the UK, Europe and America over the last few years, at times in some very unusual venues!

In 2002 Galahad released 'Year Zero' which featured John WETTON (ASIS, KING CRIMSON, FAMILY etc.) on guest vocals.

In September 2006 Galahad released their debut DVD 'Resonance' , which was recorded live in Katowice, Poland in May 2006.

'Empires Never Last' , which features Karl GROOM (THRESHOLD)) on engineering duties, was released in 2007 and took the band in a heavier, more muscular, guitar orientated direction. This more contemporary, metallic approach seems to have worked as 'Empires' was a great success, both commercially and critically, and resulted in them winning album of the year at the 2007 Classic Rock Society awards. 'Empires' was also included in many top 10 album listings for 2007.

In the interim and whilst recording TWO new studio albums GALAHAD released a couple of live albums 'Sleepless in Phoenixville - Rosfest Live 2007' and 'Whitchurch 92/93 - Live Archives -Vol.2' (CD/DVD) plus a re-issue of their 1992 Year Zero album, which also contained bonus CD consisting of live versions of tracks from Year Zero.

'Battle Scars', again recorded at Thin Ice by Karl GROOM was released in April 2012 and took the band further in to a heavy/rockier direction but mixing it up with a few more overt modern dance/trance and classical influe...
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Buy GALAHAD Music


Nothing Is WrittenNothing Is Written
Import
CD Baby 1991
Audio CD$12.93
$33.69 (used)
Resonance: Live in PolandResonance: Live in Poland
Multiple Formats
Mvd Visual 2006
DVD$191.39
$11.95 (used)
Empires Never LastEmpires Never Last
Import
United States Dist 2015
Audio CD$12.03
$14.25 (used)
Seize the DaySeize the Day
Import
Imports 2014
Audio CD$6.34
$6.33 (used)
Quiet StormsQuiet Storms
Oskar
Audio CD$18.80
$14.99 (used)
Beyond the Realms of EuphoriaBeyond the Realms of Euphoria
CD Baby 2016
Audio CD$9.99
$14.19 (used)
When Words Collide 30ThWhen Words Collide 30Th
Import
JFK 2015
Audio CD$21.99
Battle ScarsBattle Scars
CD Baby 2016
Audio CD$7.29
$13.18 (used)
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GALAHAD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

GALAHAD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.45 | 69 ratings
Nothing Is Written
1991
2.87 | 58 ratings
In A Moment Of Complete Madness
1993
3.43 | 39 ratings
Galahad Acoustic Quintet: Not All There
1994
3.48 | 98 ratings
Sleepers
1995
3.00 | 75 ratings
Following Ghosts
1999
2.16 | 19 ratings
Galahad Electric Company: De-Constructing Ghosts
1999
3.54 | 104 ratings
Year Zero
2002
4.08 | 378 ratings
Empires Never Last
2007
3.81 | 262 ratings
Battle Scars
2012
3.86 | 276 ratings
Beyond The Realms Of Euphoria
2012
3.86 | 83 ratings
Quiet Storms
2017

GALAHAD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.88 | 6 ratings
The Christmas Lecture
1993
3.26 | 16 ratings
Classic Rock - Live
1996
4.00 | 1 ratings
Two Classic Rock Lives
2008
3.97 | 18 ratings
Sleepless In Phoenixville - RoSfest Live 2007
2009
3.90 | 11 ratings
Whitchurch 92/93 - Live Archives vol. 2
2012
4.08 | 11 ratings
Solidarity - Live in Konin
2015

GALAHAD Videos (DVD, Blu-ray, VHS etc)

3.82 | 37 ratings
Live in Poland - Resonance (DVD)
2006

GALAHAD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.08 | 13 ratings
Galahad - Other Crimes and Misdemeanours vol. 1
1992
3.03 | 20 ratings
Other Crimes And Misdemeanours II
1997
3.13 | 8 ratings
Decade
1997
2.61 | 18 ratings
Other Crimes And Misdemeanors III
2001
4.92 | 5 ratings
When Worlds Collide
2015

GALAHAD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.67 | 9 ratings
In A Moment Of Madness (Tape)
1989
3.40 | 5 ratings
Voiceprint Radio Sessions
1994
4.14 | 11 ratings
Seize the Day
2014
4.04 | 5 ratings
Guardian Angel
2014
4.00 | 4 ratings
Mein Herz Brennt
2014
4.78 | 4 ratings
30
2015
3.67 | 3 ratings
Empires Never Last (Orchestral Version)
2016

GALAHAD Reviews


Showing last 10 reviews only
 Two Classic Rock Lives by GALAHAD album cover Live, 2008
4.00 | 1 ratings

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Two Classic Rock Lives
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars

When I was staying at Stu Nicholson's house recently, I was told to go into the studio and have a good luck at the CDs and merchandise and see if there was anything that I didn't already have. I was somewhat surprised to come across this double CD release from 2008, as it was the first time I had seen it! Back in 1996 Galahad released a single CD live set called 'Classic Rock Live' on their own label, and at the time I had quite a moan at Stu as they hadn't included "Exorcising Demons" in the set, to which I was told they could lonely afford to release a single CD and they couldn't fit everything in that they wanted. It has appeared on a couple of live albums since then, but this was their live album released on CD and I did always feel that it was an opportunity missed.

But, that has now been rectified by this double CD digipak from Poland's Oskar, as the first CD contains a set from Mister Smith's on 28th October 1994 and the second is the original album, recorded at Rotherham CRS on 22nd April 1995. Given that the recordings were only six months apart, there is no surprise that there are similarities between the sets, but the earlier set contains ten songs instead of eight, and there are some beauties to be heard here as there is not only 'Exorcising Demons" but also "Parade" and "Lady Messiah" and the wonderful tongue-in-cheek (literally) "The Dentist Song". The last was a number that I always felt was much better live than the studio version, as the humour came over much better.

I wasn't at either of these gigs, but this was a time when I was seeing the band regularly, and is the line-up I have seen most in concert. By now Neil was making "Room 801" his very own, while the rest of the band had the confidence of having been together a few years, and were riding the crest of the neo prog wave (if there ever was such a thing). Listening to these recordings in 2017 there is a sense of naivety and innocence that has long gone from the scene, and the Galahad of 1994/1995 couldn't have thought that they would still be recording and gigging in more than twenty years later (although only Stu and Spencer are still there). There are times when the sound at Mister Smiths is a little muddy, especially during the bombastic sections of "Exorcising Demons", but this all seemed so very familiar to me, taking me back to venues like The Railway, The Standard, Whitchurch and so many more.

Fans who have come to the band since Dean has been involved may be surprised at how very different they used to sound, and how far they have moved on from their roots, and may find this not to their taste. But for those of us who were involved in the scene in the early Nineties in the UK will listen to this with a massive smile on our faces. When I was staying at Stu Nicholson's house recently, I was told to go into the studio and have a good luck at the CDs and merchandise and see if there was anything that I didn't already have. I was somewhat surprised to come across this double CD release from 2008, as it was the first time I had seen it! Back in 1996 Galahad released a single CD live set called 'Classic Rock Live' on their own label, and at the time I had quite a moan at Stu as they hadn't included "Exorcising Demons" in the set, to which I was told they could lonely afford to release a single CD and they couldn't fit everything in that they wanted. It has appeared on a couple of live albums since then, but this was their live album released on CD and I did always feel that it was an opportunity missed.

But, that has now been rectified by this double CD digipak from Poland's Oskar, as the first CD contains a set from Mister Smith's on 28th October 1994 and the second is the original album, recorded at Rotherham CRS on 22nd April 1995. Given that the recordings were only six months apart, there is no surprise that there are similarities between the sets, but the earlier set contains ten songs instead of eight, and there are some beauties to be heard here as there is not only 'Exorcising Demons" but also "Parade" and "Lady Messiah" and the wonderful tongue-in-cheek (literally) "The Dentist Song". The last was a number that I always felt was much better live than the studio version, as the humour came over much better.

I wasn't at either of these gigs, but this was a time when I was seeing the band regularly, and is the line-up I have seen most in concert. By now Neil was making "Room 801" his very own, while the rest of the band had the confidence of having been together a few years, and were riding the crest of the neo prog wave (if there ever was such a thing). Listening to these recordings in 2017 there is a sense of naivety and innocence that has long gone from the scene, and the Galahad of 1994/1995 couldn't have thought that they would still be recording and gigging in more than twenty years later (although only Stu and Spencer are still there). There are times when the sound at Mister Smiths is a little muddy, especially during the bombastic sections of "Exorcising Demons", but this all seemed so very familiar to me, taking me back to venues like The Railway, The Standard, Whitchurch and so many more.

Fans who have come to the band since Dean has been involved may be surprised at how very different they used to sound, and how far they have moved on from their roots, and may find this not to their taste. But for those of us who were involved in the scene in the early Nineties in the UK will listen to this with a massive smile on our faces.

 Quiet Storms by GALAHAD album cover Studio Album, 2017
3.86 | 83 ratings

BUY
Quiet Storms
Galahad Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Galahad has been one of my all-time favorites for quite a while now, always stunned by their dedication to expand their repertoire , going from classic neo-prog ('Sleepers') to more pastoral levels ('Not All There'), searching out new territories ('Following Ghosts' and 'Year Zero'), then flirting with heavier material ('Empires Never Last' and 'Battle Scars') , as well as doing a rather unique hybrid (such as the techno-prog on 'Beyond the Realm of Euphoria'). All worthy classics in the prog pantheon.

Galahad possesses two huge assets, one being the stellar voice of Stuart Nicholson, a master of Gabrielesque theatrics and perfect intonation (you can easily decipher his lyrics). On stage, he is remarkably fascinating (witness for yourself the live in Poland- Resonance DVD) and a sheer pleasure to listen to. He is also a very nice person to converse with. Second is the absolute brilliance of Dean Baker, a seasoned keyboard player who has no fear of combining classical training with more modernistic flourishes. Now the remaining crew are amazing professionals but these two really shine on 'Quiet Storms' , a rather unique twist on 'unplugged' , concentrating on the mellifluous voice of Stuart and Dean's magical piano , in a forcefully condensed stylistic cocoon , keeping the emotions and the melodies upfront and center, naked, real and utterly devastating! They have reworked some of their classic songs into more stripped down versions, gentler, calmer but even more overflowing with unabated passion. The relative absence of guitars, bass and drums forces the focus on the melodies as well as the duo of voice and piano. What talent! This has to be one of the top albums of 2017, hands down.

The majestic 'Guardian Angel' is the mainstay track on 'Beyond the Realms of Euphoria', showcasing a 10 minute workout and also a 6 minute reprise that is molded here into a compact 4 minute bare bones version that just sets the mood brilliantly. Great song, a Galahad classic and thus a perfect intro (and later, outro).

The sub-glacial 'Iceberg' is a twist on the original found on 'Not All There', perfectly chiseled to fit the mood here, a gorgeous melody once again, featuring Sarah Bolter on winds and vocals. A tingling atmosphere, angry lyrical content aimed at harsh governments, self-interest and general apathy. Asking morosely and currently very appropriately: Who will save us when the iceberg melts, Donnie? Cruel irony in musical form. Mellotron squalls blast the floating snow. The hypnotic insistence of 'Beyond the Barbed Wire' , originally composed for the intense 'Battle Scars' album, gets a gentler reworking but the angst and the trepidation here is actually enhanced, replacing rage by that another spectral monster, fear! Stellar stuff!

Originally a Rammstein song, 'Mein Herz Brennt' sounds like a Roxy Music classic with a Bryan Ferry bellow ('Nein, das ist nicht das ende der welt'), laden with weighty Teutonic angst, zeitgeist and schadenfreude. Dean's melancholic piano drips with unabashed passion and pain. Stu sings with density and fury. This is lethal music, to say the least!

'Termination' is a whirlwind track on 'Empires Never Last' , a bruising steamroller track full of spittle and bravado that gets a slightly Magenta-like treatment, with male and female vocals (Magenta's Christina Booth) dancing a minuet amid the black and white slivers of ivory. From the same glorious album comes 'This Life Could be my Last', being given the slow and easy handling, highlighting the deep resonance of the poignant lyrics and following the ghosts of the crafty melody, maintained by the sheer believability of the vocal delivery and the pounding hum of the proud grand piano.

The delicate magnificence of 'Pictures of Bliss' was already a perennial favorite off the 'Sleepers' album and here gets an even more stripped down version. Drop dead beautiful vocal, one of the most touching songs in prog, this could play in my head forever.

On 'Willow Way', producer and guitarist Karl Groom adds some keyboards as well to the proceedings, a gentle track full of chirping bird effects, soft acoustic guitars and velvety keyboards. Pastoral as only the Brits know how, visions of green lush fields and bucolic sentiments abound, all very prim and perfect. Thinking of the ghost (and the geese) of Anthony Phillips again. A more orchestrated track is found on 'Easier Said Than Done', possessor of a Beatles-like melody and packaging, a tune full of bright, hopeful and yet still melancholic aspirations, changing gears while still remaining firmly on the road . Another successful variation, the original, less classical one, found on 'Following Ghosts'.

Drenched in sweltering electronica, 'Melt' comes across as something you might find on Midge Ure's latest masterpiece 'Fragile' (a stellar but sadly not prog album) , Stu having a stunning voice that has a lot in common with the legendary Ultravox leader. The synths are mechanical yet warm and emotional at the same time and the melody is, well, simply divine, truly a highpoint piece on an album with a dozen highlight tracks! The original track was on 'Not All There' but there anointed with a much more pastoral/medieval ornamentation. On the dense and atmospheric 'Weightless', the mood falls out of bounds, a weary dirge of sense deprived isolation and introspection, forcefully fueled by slithering synth carpeting. 'I am overcome with a feeling of utter calmness, so relaxed, so relaxed'. Wow! 'Clarity and sanity regained', Stu sings convincingly! After listening to this beauty, I feel I am still alive. Ridiculously magnificent!

Another massive surprise awaits with the 9 minute 'Shine' from 'Following Ghosts', a fully developed masterpiece of symphonics and melodic achievement, including a majestic choir that will burn down any candle. This miraculous track was always a crown jewel but here, among all these acoustically tinged tracks, it stands out even more, fueled by profound lyrics and forceful singing. A world class melody that hits home and at the heart, a divine aspiration of being, a poignant and chivalrous delivery that will slay any dragon.

'Don't Lose Control' has Mark Andrews and Dean Baker doing the duelling piano thingy, to masterful effect, while Stu croons like a smooth lounge lizard, in some sweltering cabaret, convincing and appealing to the nth degree. A John Grant penned tune, 'Marz' has a poppy tendency that still emits deep emotion and vulnerability. The trippy lyrics are memorable for their complete departure from the previous material, 'golden champagne, high school football, tulip Sunday' has a definite Beatles-tinged psychedelia that will evoke a satisfied smile and a nod of tacit approval. Stu's vocal is perfect, he being easily one of the finest singers of his generation as well as being on my top all-time 5 prog vocalist list. Dean's piano is riveting and expansive, an ideal and true companion on the road to bliss. Fascinating piece!

A techno version of 'Guardian Angel (Hybrid)' has no down side, the main melody way too appealing to be distressed by a more robotic mantel, Spencer Luckman hitting his drums with mechanical zeal, a thoroughly jubilant end to a magnificent album. Recently retiring guitarist Roy Keyworth and recently deceased bassist Neil Pepper add their own mark.

The gallant Galahad wears it moniker well, a brave , courageous and bold prog band, laden with mighty talent and intense devotion and euphoric commitment, brazenly leading the charge into always altering musical battles, fighting fiercely, occasionally bruised and scared but always confident in their mission. Incredible music, plain and simple, a definite MUST HAVE for any fan of music in general and prog in particular. An album that perfectly encapsulates the mastery of a quality prog band as well as articulating the traits that make their music so breathtaking and awe inspiring.

Galahad, I love you!

5 Silent squalls

 Quiet Storms by GALAHAD album cover Studio Album, 2017
3.86 | 83 ratings

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Quiet Storms
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars And so, at long last, I have published my 1000th review on ProgArchives. I have written many, many more than that over the years, but I recognise this as some sort of milestone. It is only fitting that it is about the band that in many ways started me on the path I have been travelling for the last 25 years.

Over the years, Galahad have always dared to be different, and have always produced music very much on their own terms. This has seen them produce an acoustic offshoot, a dance offshoot, as well as mixing and melding the styles that have seen them always moving forward, always progressing. When I first came across them they had won the Radio 1 Rock Wars, and had released their first CD: it seems like a very long time ago, but that's okay because it was. They were the first band I wrote to in the progressive underground (yes, it was snail mail, no other type had been invented yet), the first band I wrote a complete piece on, and the first band I felt really close to. Through Stu I was introduced to others in the scene, and he told some mates of his to contact me which is how I came across the demo of some lads who were calling themselves Big Big Train, but that's another story altogether. And so, at long last, I have published my 1000th review on ProgArchives. I have written many, many more than that over the years, but I recognise this as some sort of milestone. It is only fitting that it is about the band that in many ways started me on the path I have been travelling for the last 25 years. So here we have it, prog with a difference, in Galahad's own very unique manner.

What's different about this album? Well, for starters it contains some already released songs, although they are here in different versions ? therefore the booklet contains lyrics only to some numbers, as they are the new ones. But, the largest difference outside the style of music (more of that in a minute), is that here Galahad are performing as a trio with guests. A trio? Well, yes, and often they are a duo. This album is based around Stu's vocals and Dean's delicate touch on piano and keyboards, with just occasional percussion from Spencer. There is no room for bass, so "new boy" Tim Ashton, who returned in 2014 after 22 years off for good behaviour has taken a break on this one. But where's Roy? Roy Keyworth was the founder of the band more than thirty years ago, but in March the band announced the sad news that Roy had decided to retire from music. He makes an appearance on the very final song of the album, "Guardian Angel (Hybrid)", which originally appeared on the "Guardian Angel" EP, but that is his swansong. Guitar features on just one other song on the album, and producer Karl Groom provides acoustic on that, somewhat different to his normal crunching day job with Threshold. Sarah Bolter is back as a guest again, providing woodwind and backing vocals, reprising her role on "Iceberg", which appeared on 1994's Galahad Acoustic Quintet album.

Yes, if you hadn't already worked it out, this is a far more pastoral album, one that relies on tone and technique as opposed to force and power. I honestly believe that Stu is one of the most under-rated singers around, and he has lost none of his pitch, breath control and range, while in Dean Baker he has found the perfect accompanist. Their relationship makes me think very much of Martin Orford and Gary Chandler, in that they complement each other so perfectly, and make incredible music without anybody else being involved. Christina Booth from Magenta duets with Stu on "Termination", old boy Mark Andrews appears on "Don't Lose Control", which he originally played on back on that debut CD, while Louise Curtis provides violin on their take on Rammstein's "Mein Herz Brennt" (I much prefer this version to the original).

This isn't a prog album in its truest sense, but instead shows a band that are always confident in their ability, and move around in different styles yet deliver the goods time and time again. I think it was more than twenty years ago that I confessed that I was losing all ability to write rationally about any release by Galahad, as I love their music so much. The reason I love it so, is because they are always refusing to conform to anyone's expectations, and keep producing works of outstanding brilliance and quality, like this one.

The band still don't know who their new guitarist is going to be, but Karl Groom has kindly agreed to play on 'Seas Of Change', which is going to be released later this year as well. That is going to show a very different side to the band I'm sure. But for now, play this to your friends and astound them with wonderful music from deepest Dorset.

 Quiet Storms by GALAHAD album cover Studio Album, 2017
3.86 | 83 ratings

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Quiet Storms
Galahad Neo-Prog

Review by The Jester

4 stars Five years after the release of the albums Battle Scars and Beyond the Realms of Euphoria, Galahad returned with a rather different and beautiful album. Quiet Storms is a collection of their older songs in mellow versions, but it is also including a few new songs as well. You can find the original versions of most of the songs on the band's previous albums and on a couple of singles as well. Here, the listener has the opportunity to enjoy the melodic and more dramatic side of the band, without the loud guitar riffs and the usual powerful tempo. The piano and the keyboards are the dominant instruments, which, together with Stuart Nicholson's excellent performance, are creating a wonderful overall experience. Songs like This life Could be My Last, Guardian Angel and Termination, sound totally different than their original versions, which is very interesting, to say the least. Personally speaking, I like Galahad a lot, so I couldn't miss this new release of theirs. I added the album in my collection and never regret it! I am sure that I am going to enjoy it more on a rainy afternoon, together with a glass of red wine, rather than the heat we have right now in Athens. I feel that there is no reason to write more on the subject, because you should listen to it and form your own opinion. I definitely recommend it to the fans of Galahad, but also to those who can enjoy an atmospheric, melodic and kind of melancholic album.

My Rating: 3.5 out of 5.0 stars (But I will give 4.0)

 Quiet Storms by GALAHAD album cover Studio Album, 2017
3.86 | 83 ratings

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Quiet Storms
Galahad Neo-Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars The title can give us a good idea of what is this new album. This is the quiet side of Galahad with piano, vocals, and classical arrangements. We don't miss the guitars, it show us how good are the songs. The band is really serious when it comes to do some solid melodies, melancholic, dramatic. There are some new songs and old ones with only a few average ones. If you are a fan of the band, this is a nice addition to your collection and surely a good introduction to the band unless you don't enjoy at all acoustic music. I will bet that this album will pick the curiosity of your female companion in a rainy Sunday afternoon.
 When Worlds Collide by GALAHAD album cover Boxset/Compilation, 2015
4.92 | 5 ratings

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When Worlds Collide
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Back in 1985 a small group of progheads formed a band, and even though the musical furrow they were ploughing has never been the most popular, somehow they have persevered and in 2015 they marked their thirtieth anniversary. Through some twists and turns, the line-up in 2015 was 80% the same as the one that recorded their first CD, 'Nothing Is Written', with just 'new boy' keyboard player Dean Baker the only one not there all those years ago. But, seeing as how he joined the group in 1997, possibly the new boy tag is just a little unfair...The concept behind this double CD was quite simple, re-record a number of songs from throughout the band's career, but perform them as if they had just been written. Also involved were previous members of the band (and in one case, the son of a previous member), and co-producer Karl Groom also assisted with acoustic guitar on one song. As for the booklet, they approached various people who had been involved with the band at some point in their career and asked for some memories to be included, so I do have to confess and admit some involvement at this point so my review is obviously going to be biased?

To my ears this is an amazing album in that they have stayed true to the originals in many ways, yet have given them a new lease of life. As an example, take the extended version of "Room 801" which in its original form was seven minutes long, but is now nearly eleven. There is a much longer introduction, Dean has provided quite a different keyboard sound in many places, yet stays close in others, while Tim's bass is much warmer, and both Spencer and Roy are kicking it far more than in the original. Of course, back in 1990 Stu didn't have the confidence that only comes from fronting a band for many years, and back then they weren't working with a producer like Karl. A nice addition to this song is the original comments from Tommy Vance that he gave after the song was played on the Radio 1 Rock Show, and he states who plays on the song, with a machine providing the name of Dean as he was the only one not involved at the time.

"Richelieu's Prayer" is another triumph, featuring quite a different piano introduction to the original, but performed by Mark Andrews who was of course the keyboard player on the debut CD. This has always been a personal favourite of mine, and it builds to a climax with the piano being a focal point throughout. It is the confidence of all those involved that makes this album such a triumph. It would be churlish of me to complete the review, though, without mentioning the reworking of "Exorcising Demons". This is has been one of my favourite songs since I first heard it performed at The Astoria a million years ago, and Stu and I had discussion a few times back in the Nineties when I realised that it wasn't going to be performed. Stu even made a point of telling me that it was going to be included on this album! It has been deconstructed in some ways, and the fresh arrangement has made it something that wouldn't sound out of place on a new album. Here Tim is putting his own take on what was originally Neil's bassline, instead of the other way around, which was the normal state of affairs.

It's not really possible to have a "Greatest Hits" album without at least one true "hit", so what we have here instead is an album of classic numbers that have been reworked and re-recorded to make them more relevant and important to today. If you have never come across Galahd before this, then this is the place to start.

 Solidarity - Live in Konin by GALAHAD album cover Live, 2015
4.08 | 11 ratings

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Solidarity - Live in Konin
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars On September 2nd 2011 bassist Neil Pepper finally succumbed to cancer, and this had a major impact both on the band and all those who had the privilege to meet him. What was the band going to do after this? They had recorded two albums with Neil, both of which were released in 2012, but how would they perform them live? Actually they didn't have to look too far, as keyboard player Dean Baker and guitarist Roy Keyworth had been helping out in Twelfth Night, which also featured multi-instrumentalist Mark Spencer. It was soon agreed that he would join them for gigs, and then in 2014 Tim Ashton returned to the fold, so this album captures quite a short-lived line-up. Recorded in Konin, Poland, on 26th October 2013, this double CD and single DVD set finds a band who in many ways are very different indeed to the band I saw so many times in the Nineties. Yes, singer Stu Nicholson, guitarist Roy Keyworth and drummer Spencer Luckman are still very much involved as they were back in the day, but this is an outfit that has progressed in many ways indeed.

At one time they were very much part of the neo-prog scene, heavily influenced by the likes of Marillion and IQ, but they have changed quite dramatically over the years, and how have a much heavier and dense sound. Dean has a wonderful approach on keyboards. Knowing when to be quiet, reflective, and 'progressive' in approach but he also knows what it takes to move into a far more metallic area. Spencer has grown in confidence over the years and has become much more of a rock or even metallic drummer, really pounding the kit, while Roy has turned it all up and provides a much more powerful platform. With all this mayhem going on it probably isn't surpriing that Stu's vocals have also gained a depth and breadth that they didn't have previously ' he still hits all the notes, but now they are quite a different proposition than before.

I am sure that a lot of this is down to the person who mixed and edited this album, Karl Groom, who has been working with the band now for some years. There are only a few of the older numbers included in this set, and one of these should be called out for special mention. After everything having been turned up to the max, and the audience blasted into submission, they come back for the encore. Or more truthfully, Stu returns on his own to sing 'Painted Lady' totally a capella. It takes a brave singer to do that at any time, let alone after already performing for ninety minutes, and he nails it. Totally. This album is a great introduction to the Galahad of today, and one that makes me regret now living so very far away, as I am unlikely ever to catch them in the flesh again, and these guys are proving yet again that they are one of the bes prog acts around.

 Sleepers by GALAHAD album cover Studio Album, 1995
3.48 | 98 ratings

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Sleepers
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars So, an envelope arrived one day from the UK, and my wife asked me who it was from. When I replied that it was from Stu Nicholson she asked me what he had sent me, so I showed her the CDs it contained, and she immediately said "Oh, isn't that the dead lady?". Of all the thousands of CDs I've been sent over the years, this is the one where the cover made an impact on her, from twenty years previously. True, the story about the cover did make quite a fuss, and this was in the days before internet or Prog Magazine, but for me the story was always that of the album itself and how it was recorded. After the success of 'Nothing Is Written', winning the Radio 1 Rock Wars, appearing on the Friday Night Rock Show it appeared as if the stage was set for Galahad to burst through into the mainstream in a big way. All they needed now was the follow-up album. "NIW' was self-financed and had come out in 1991, but the band were starting to make a real name for themselves and new keyboard player Karl Groom had settled in. They started experimenting with new songs, showing a move into a slightly rockier area, and although the loss of bassist Tim Ashton was a blow, it allowed them to bring in Neil Pepper, who was a force to be reckoned with.

I still remember Stu ringing me in a state of real excitement, as they had managed to secure the services of Tony Arnold to engineer and produce the album: he couldn't believe that a producer of such history and renown would be interested in a small prog band from Dorset. It is fair to say that the experience on all sides was not perfect, and the album took far longer to come to fruition than was expected. The band were playing the songs live, and I can even remember Stu needing the lyrics to the title cut at one gig as it was the first time they had played it! Some of the guys even went out and recorded an album as the Galahad Acoustic Quintet just to be able to work on something. But, the album finally was released in 1995, and even then, I found it strange to review it given that I knew all the material so very well indeed. So, what would I think of it now?

The 2015 reissue has been remastered by guitarmeister Karl Groom, has two additional songs not on the original, and has been released as a digipak by Polish label Oskar. What I noticed immediately from the sound is that this is contains far greater balance than the original, and the drums have been given a much greater focus. Karl is known for creating great sound both in a studio and in the live environment, and even though he is a guitarist he has always been adept in getting the best out of a drumkit, and as with the '30' EP he has brought to life all the work that Spencer carries out at the rear of the band.

As for songs, well, we're spoilt for choice as we go from the dramatic and sublime to, frankly, the ridiculous. "Dentist Song" really is a song about a trip to the dentist, and although this seems like a strange subject choice for any lyricist, let alone a proghead, I have always enjoyed this, as the layers of keyboards tie in so well with the guitar that this poppy little number that I have always found it to be a load of fun, although I am fully aware that most proggers don't share my point of view. "Julie Anne" is still one of the finest ballads they have ever produced, and with its appearance on a 'Frontiers' CD it also gained them a lot of interest from outside the prog scene. Stu has always been a great singer, and with the right production and minimal backing he has always been able to deliver the goods, and is a format that the band still use today.

I could go through every song in turn, explaining why I feel that this album is still essential after all these years, but instead I'll focus on a song that is still possibly the best they have ever recorded, even after all these years. I first saw them perform "Exorcising Demons" at The Astoria, when Tim was still in the band, and even then, I could hear that the band was moving into a more mature style of music. At nine plus minutes long, it is the fourth longest on the album, but it is both timeless and way too short! With keyboards and percussion setting the scene, it always makes me imagine Stu alone in a cavernous warehouse, switching his singing between gentle and menacing. After more than three minutes the bass comes in playing a riff that is picked up by the guitar, and gradually the band starts to pick up speed and the vocals contain more venom. Until everything stops so that Stu can sing out "Exorcising Demons" unaccompanied. This is a song that really does build, with lots of layers and complexity, and although it is more keyboard-driven than the live version it is still a powering number.

I have no idea how often I have played this album over the years, but "lots" seems like a good number, and back in the day Stu and I have had discussions at gigs when I discovered that they had dropped "Exorcising Demons" for one reason or another. Looking back this is a bridging album in some ways, from the naivety of "Nothing Is Written' to the more powerful works that they were to bring later. It took too long to be released, of that there is no doubt, and the band lost some of the momentum they had been building just a few years earlier. But, they got through it, and all these years on is still an album I enjoy playing, and isn't that what listening to music is all about? If you have only come to Galahad through 'Battle Scars' or 'Euphoria' then you will find this quite different, but for someone who first heard them when I played the 'Madness' cassette (which I still have!), then this is something that I dearly love, and would take with me if I was ever stranded on that desert island.

 Mein Herz Brennt by GALAHAD album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 4 ratings

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Mein Herz Brennt
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

This was the last of the three EP's from 2014, and was a surprise in a few different ways. Firstly, Stu is singing in German (well, it is a German song after all), it's a cover, and it's a cover of a song by Rammstein, not a band usually referenced by prog bands. There will be a version on 'Quiet Storms', which will be out later this year, but whether it is one of these we will just have to wait and see. The first of the four is a delicate piano and violin version, which really captures a beauty that I think Rammstein threaten at in their own version, but miss with the bombastic attack for which they are so well-known.

The "fully loaded" version is the one that is closest to the original, as the delicate pianos give way to crunching guitars, although there is also a lot of depth here with quite a bit going on musically within the verse, so there is a stronger structure. Of course, Stu's vocals will never quite have the edge of the original as he is quite a different singer, but I he has always been able to provide menace when he needs to, and does it here with aplomb. The other two versions are an English language take on the piano/vocal, and the other is a piano instrumental. This last has a real beauty to it, and is something I have really enjoyed playing. In many ways it is simplistic, but simple music can be incredibly hard to play, and Dean produces a wonderful interpretation. If you are interested in Galahad, or Rammstein, then this is well worth getting.

 Guardian Angel by GALAHAD album cover Singles/EPs/Fan Club/Promo, 2014
4.04 | 5 ratings

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Guardian Angel
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars During 2014, the guys were busy working towards their thirtieth anniversary the following year, and so made the decision to release three EP's to bridge the gap from their last albums in 2012, of which this is the second. Released in the summer of that year this contains four versions of the song which appeared on 'Euphoria' plus a piano version of 'Beyond The Barbed Wire' (from 'Battle Scars'). Galahad have never been afraid to experiment with their own music, and it is interesting to compare the third song on this EP, the ten- minute plus album version, against the opener which has just Dean on piano and Stu on vocals. Of course, stripping a song back to its essentials is nothing new, and something that Martin Orford has been a party to both with IQ and Jadis numbers, but these are so very different that in many ways they come across as totally different songs. Between the two on the EP there is a hybrid version which as it sounds, contains elements of both the piano and the full on prog version. It's hard to say which I prefer, as they are both damn fine, and it is interesting to see the band experimenting like this.

The same is true of the last number, as with just some reverb on his vocals this is Stu stripped right back with just the Dean's piano to pitch against. There is no hiding place when music is performed in this manner, both must be perfect as any mistakes can so easily be heard. This is still available from the band as both a download and a physical CD and is well worth investigating if you are a fan.

Thanks to kev rowland for the artist addition. and to E&O Team for the last updates

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