PALADIN

Stylistically the material on "Paladin" is a highly energetic form of rock drawing influences from jazz/rock, blues rock, progressive rock, and psychedelic rock. Webb is an absolute monster on the drums and his high voltage drumming style drives the music forward with great energy and passion (take a listen to his high energy performance on "Bad Times"), and his performance here is definitely one of the greatest assets of the album. The vocals are decent but nothing out of the ordinary, so it´s mostly the instrumental part of the music which is worth a closer investigation, and Solley´s piano and organ playing is worth more than a couple of mentions. The rest of the band are well playing too.

The album features a well sounding, powerful, and organic toned production job, and it´s a sound production which provides the material with great opportunities to shine. Upon conclusion this is a good quality debut album from Paladin, but the tracks which are a bit more straight forward vers/chorus based rock tracks really aren´t that interesting (tracks like "Carry Me Home" and "Flying High" could be mentioned here) and drag my rating down a bit. Paladin are arguably best when they are full throttle high energy rocking, which fortunately they are on several tracks on the album. A 3 star (60%) rating is warranted.

The stage is set with "The Gong" (12 seconds of a gong being struck--how do they come up with this?!). And honestly, I like what I'm hearing with "The Fakir I", an Eastern- sounding track with rolling toms and "exotic" violins. Slight build, slight fade. "Third World - Pt. I" was pretty flat, pretty boring. Got better as it goes, but that's it. "Third World - Pt. II" showed immediately more promise. A sort of... Latin(?) thing going on here. A tad better than the first part.

"Carry Me Home", almost as though the name somehow implies it, is a very classic Rock song. Really showin' their roots. The organ is probably the highlight throughout. Sorta like The Band, I suppose (like literally Roots Rock). "Dance of the Cobra" on the other hand, while still kinda sorta Rootsy, is a bit funkier. Gave my noggin' a little scratch haha. This also provided a few varied sections. Very refreshing compared to what came before (even despite the drum solo). It really does feel like a lot of this is them just glancing backwards. "Bad Times" continues somewhat in this trend with something reminiscent of Santana or... Iron Butterfly(?). Just like classic Proto-Prog, although performed in the modern era. The organ is once again the highlight here. And this specifically continues on "Fill Up Your Heart". I might start repeating myself... Again, something Latin.

And then "It's Time", time for some more Roots! hahaha. Then we're back to 'the East' with "The Fakir II". We out in the dunes? I don't ever want to ask a band or artist why they chose to do something, but... It's just interesting... And with this track, some interesting choices, but ultimately relatively static.

And wham! We have vocals finally appearing on "Trip to Venus", a sorta lovey dovey, classic rock tune. And really, the vocals are real nice. But y'all gonna like this? Unsure. Finally, "Anyway" is a classic, Prog-Pop song. My mind goes to ELO or to Argent (definitely something I'm into). "Anyway II" just feels like a mirror of its first part. It's pretty slow and light, with a slight build at the end. The melody is really great, but the song (the second part, specifically) felt unnecessary.

Overall, not bad. Even pretty good.

Paladin are armed and ready to do battle with "Give Me Your Hand", a funky 8-minute-long Jazz-Rock number that definitely doesn't need "more cowbell", as there are cowbells in abundance on this lively rocker. This is like the kind of electrifying high- energy opener you might hear on a Santana or Savoy Brown album. These gallant Paladin knights are charging full-speed ahead on a burst of frenetic energy and raw adrenalin in a storming crusade of guitars, keyboards and pounding percussion. The soulful vocalist packs an impassioned punch too with this rousing chorus:- "Give me your hand, lead me on, Through this moment of despair, oh, Give me your hand, lead me on, Show me something that's still there." ..... This peerless band of musical knights have really set the bar high with this very impressive album opener. Can we expect Paladin to keep up the incredible pace throughout the album!?? "Well We Might", because that's the title of their second searing offering. There's no doubt about it, "Well We Might" is a super-charged Blues-Rock song that barrels along relentlessly for five breath-taking minutes like a diesel locomotive on full power. These intrepid knights sure know how to ROCK!! It's another dazzling display of roof-raising keyboards, guitars and percussion, all jousting to see who's the loudest and mightiest musician of them all, with amplifiers that probably go all the way up to eleven. The band barely have time for a breather with "Get One Together" either, as Paladin have got together again to deliver another real hell-for-leather barnstormer of a song. This pummelling instrumental rocker sounds like a funky cross between Uriah Heep and Santana, which can best be described as Funk Rock that's as hard and heavy as a block of granite. The fourth Very 'eavy and Very 'umble song "Anyway" has shades of Deep Purple and Uriah Heep. It's a rousing anthemic number which dramatically gathers in pace, reminding one of "July Morning" by Uriah Heep or "Child in Time" by Deep Purple. Either way, "Anyway" is an uplifting and inspirational song to close out Side One on a spiritual and emotional high-point.

"Good Lord", is that the time!? Yes, it's time for an extended fruity jam session where the musicians give a High and Mighty display of heavy Stormbringer prog at its absolute best, in the best Demons and Wizards traditions of Uriah Heep and Deep Purple, spiced up with the funky sound of the Allman Brothers and Santana. This sensational band have it all! Can it possibly get any better than this!?? YES IT CAN, because on the way now is "Mix Your Mind with Moonbeams", which might sound like some weird, stoned-out psychedelic acid trip, going by the title alone, but it's really a full-blown Heavy Prog epic, guaranteed to lift you up into prog heaven and beyond. This roaring soaring prog anthem is another stunning highlight of the album, alongside the marvellous "Anyway" at the close of Side One. We're taking it easy now and getting into a mellower mood for "Watching the World Pass By", with a deceptively light and breezy harmonica and keyboard opening. This just serves as a prelude though for another monstrous blast of powerful keyboard prog for a storming conclusion to a terrific album.

Paladin are the mother of all funky Jazz-Rock bands, with influences to be heard from the Allman Brothers, Deep Purple, Santana, Savoy Brown and Uriah Heep. These chivalrous knights are charged-up and ready to do battle in a dynamic explosion of thunderous keyboards, blistering guitars and pounding percussion. When it comes to Heavy Prog, Paladin are like gallant knights in shining armour charging full-speed ahead in a searing blaze of take-no-prisoners musical glory!

Right from the beginning track 'Bad Times' it's obvious that PALADIN was very much influenced by Santana with some tight percussion that sounds like it could've been lifted off of 'Black Magic Woman,' however that's only true with the percussive drive as the slightly jazzy rock groove reminds me more of Steely Dan and other crossover jazz rock artists of the decade. Wasting no time deviating from a single style the second track makes you think that somehow a Lynyrd Skynyrd track was somehow mistakenly inserted between tracks, however despite sounding like Alabama's greatest contribution to Southern Rock, this retro sound actually came out two years before Skynyrd's debut album. Following the trend of no two tracks sounding even remotely alike, 'Dance Of The Cobra' emerges as a strange hybrid of 60s psychedelia with the Afro-Cuban Santana influenced percussion section that is augmented by bantering organ runs and a jazz-rock laden groove that could've rocked the Copacabana only with a touch of 60s stonerism oozing out of the mystic musical cracks. Most surprisingly is how it morphs into a heavier rock section and then commences with an over-the-top drum solo that builds to a staggering feat of stamina that sounds like something that would be perfect in a live performance setting but feels sort of strange on a studio album track. Once it ends it is replaced by a super groovy bass line that cedes to some outstanding guitar work that usher the longest track of the album to completion.

'Third World' is yet another complete left turn. While the Cuban percussion section is still in effect, it is the only musical section to be heard as the vocalist actually sort of raps around it going through each year of the 70s with clever little lyrical tales of how the future will unfold as the backing vocalists engage in an energetic call-and-response session. The lyrical style kind of reminds me of Debbie Harry on 'Rapture.' It concludes as the vocals stop and a piano run steals the show and fades out. 'Fill Up Your Heart' is an uplifting little positive number that sounds like a jazz laced rocker that probably sounds most like Steely Dan. 'Flying High' changes things up completely again. This one sounds like a late 70s AOR ballad! It reminds me of some of the sappiest of the sappy like something 10CC did at their poppiest or even something Hall & Oates would have cranked out during their pop charts run. And just when i have absolutely no idea where this album will go next, it takes yet another totally opposite approach and ends with the Lalo Schifrin cover track 'The Fakir' which of all things some sort of Middle Eastern groovy trance inducing number with seducing Arabesque musical scales that make me feel like i've woken up on the Silk Road!

This really has to be one of THE most unfocused albums of the early 70s. I've never heard so many genres and styles of music mixed and alternated together at least until Mr Bungle came along in the 90s! While i find this album very pleasing to listen to, it is a mixed bag for several reasons. All of the tracks are really well done for their retrospective styles but for some reason all this eclecticism feels a little hollow since the band is merely copying different styles and not really simmering them down into something tangibly their very own. The album comes across as a smorgasbord sampling of what the era had to offer with a few original twists and turns that do take me by surprise. After all is said and done, i actually like listening to this despite it not being the most original sound ammalgation of the era. The musicians are all quite talented and the compositions are quite catchy and are excellent representations of the styles they incorporate however as much as i enjoy listening to PALADIN's debut there is no denying that it simply regurgitates the swath of sonic samplings that were en vogue during the era and something just seems off and missing from the mix.

3.5 but rounded down because there's not really anything progressive on this one

Not much of a reviewer, but do like to bring some of those hidden treasures to the forefront once in a while. This band formed from a couple of backing musicians that toured with the Rolling Stones, drummer Keith Webb and keyboardist Pete Solley. In 1970 they formed Paladin with Peter Beckett on bass (World of Oz), another keyboard player Lou Stonebridge (Glass Menagerie), and guitarist Derek Foley (Grisby Dyke).

It is quite the variety and blend of styles with pleasing vocals as well as a tad of jazz/rock fusion. It all borders around prog and psych tendencies throughout.

First track "Give Me Your Hand", is a nice cow bell influenced rock song in the beginning that gets into a cool jamming session with some psychedelic mixes that sound like a distorted synth violin from keyboards or maybe guitar, can't tell for sure. Good opener.

Second song "Well We Might", sort of reminds me a little bit of Grand Funk of the Craig period with the organ as well as their own sound and other various rock influences.

The third number "Get On Together" has a definite Santana sound to it, all instrumental and good.

The fourth title, "Anyway" seems to have the vibe of a mix of Argent and the Beatles, very nice.

The fifth track "Good Lord" makes me think of the Allman Brothers, yep the Allmans but then drifts off into some dreamy jam, then back to the Allman sound. This could be my favorite of the album.

Sixth number, "Mix Your Mind With Moonbeams" shows signs of Manfred Mann or Barkley James Harvest and their own sound. Quite soothing.

On the seventh track, "Watching the World Pass By", it starts with a harmonica driven, easy beat that fools you into being a short song but then bursts into a classic organ leading rock song, then twists into a sort of Scottish hills foot stomping violin episode, then back to the beginning organ driven rock. Quite a fun and jamming song all in all, with excellent guitar work.

The CD I have has an extra 7 tracks of bonus material in addition to the original album with only 1 "redo" of a song on the original, the rest are all new. I believe it is the 2007 remaster disc. Nice treat!

I really like this album, it sounds familiar but very fresh. For me there is enough material in the prog world to give it a rating of 4 stars.

AEProgman

The album is beautifully made by the master of progressive album art, Roger Dean. Someone wrote, very much to the point, that his art is not a certified mark of musical quality. And that is true. In the case of Charge it is very true.

The music bears resemblance to many of the classic bands of the early batch of jazz-rock and hard rock bands of the 70's. Uriah Heep, Beatles (though barely making it into the 70's), CCS and others in that vein are all noticeable here. It must be said, however, that in their finest moments Paladin puts forth a slab of jazz-rock very much in their own flavor.

The opener, "Give me your hand", is a terrific song. Intense, heavy on the percussion and drums and very raucious. (The presence of vocals put through the Leslie speaker makes it even better.) Great song that really sets the pace, or so one is lead to believe anyway.

The second track really is a letdown for me. Uriah Heep, which is a great band, always spiced up their albums with lacklustre rock'n'roll songs and this track sounds just like on of those. The Mick Box-ish slide guitar and all. Really nothing to write home about.

"Get one together" is a hammond drenched, groovy little thing which again raises the album to great heights, only to drop to something rather boring in "Good lord". The song feels like The Beatles changed their name to Paladin and that does not work for me. Bands trying to sound like Beatles disappoints me. Though the song is well written I feel it does not do much for me.

"Mix your mind with the moonbeams" is a rather good track, showing more personality of their own. It is a jazzy, gospel-influenced rock track which works alright. The last track, "Watching the world pass by" is a great song to end it all with. A ballad-y, slower and mellow number with good organ.

Charge is really nothing to cross the desert for. There are so many other bands worthy of discovery. In truth Charge is a disappointing album. The signs of greatness are taken down to be replace by cheap ones, showing the easy way out and not being truly a band in their own right. I feel they are too much in awe and inspired by other bands, such as Beatles and actually Uriah Heep (which is sort of fun, actually). Two stars. That's it.

"Carry Me Home" is a country-rock song. Crosby, Stills and Nash with a Lynyrd Skynyrd piano. Nice, everything but original in any case. Have they been at Woodstock, maybe?

A 7 minutes track...something progressive is coming? Well, it's not bad music. I can keep it in my headphones while I'm working...but we are still on the chords of a police movie of the early 70s. A samba tempo on which the electric guitar plays an unoriginal solo. It's like a tribute to Santana that doesn't go anywhere. Just three chords for the guitarist to have fun. Half of the song is so. The second half is a jazzistic drum solo. Ok, this guy can play drums. Is it a mambo now? 3 minutes of Santana like guitar and 3 of drums solo plus a coda.

Samba again with "Third World". A guy speaks of politics over the sound of percussions. An ancestor of Rap. The lyric is about the chronicles of the years to come (in 1971). Interesting as subject. One minute of piano as coda.

"Fill Up Your Heart" is another funky track. Nice but nothing special again. The central instrumental part is one of the most progressive thing of this album.

A surprise..."Flying High" may be a Caravan track. The first British thing on an American album. The choir in the chorus sounds quite hippie, but it's not outplaced. Very, very Caravan.

The closer track "The Fakir" wants to have an oriental flavour as the title says, but it's just repetitive and it lacks of inventive. An attempt to be psychedelic, maybe. An idea that could have been developed better.

In few words, this musicians are skilled, but the album is very immature. It's like they have recorded what they had at the moment. The various tracks don't lead to any place and all I can say is that the band is promising but this is no more than a collection of disconnected promos.

I know from PA that their following albums are good enough, but I would have left this one in the closet of the Bronze label.

Not for sale.

Well, I think that, strictly speaking, this is not a full Prog Rock album, but it is good anyway. I found some influences from URIAH HEEP and DEEP PURPLE in their sound, with their mix of Hard Rock with some Prog Rock arrangements. There are also some influences from PROCOL HARUM in Pete Solley`s organ playing. It is really an album with eclectic sounds, very enjoyable, that sounds a bit dated, with a sound that I found very characterisitic of some other albums released in the early seventies.

"Give Me Your Hand" is a Hard Rock song with good guitars and organ, plus some Latin-Influenced percussion. "Well We Might" is mostly an Rock and Roll song played with good slide guitar. "Get On Together" is one of the most Prog Rock influenced songs, in a song composed by the band`s drummer, Keith Webb. "Anyway" also has Prog Rock influences, with very good orchestral arrangements. "Good Lord" is another good Hard Rock song. The last songs in this album, "Mix Your Mind with the Moonbeams" and "Watching the World Pass By" are very Prog Rock in arrangements, and are among the best in this album.

Pete Solley years later played with PROCOL HARUM, adding sytnhesizers to the organ`s sound of the band for their final album of the seventies, called "Something Magic", in 1977. He was the main songwriter in this PALADIN`s album, but all the other members of the band also contributed to some songs as songwriters. It is a shame that this band only recorded two albums and later split. All the members are very good musicians. The lead and backing vocals are also very good.

The eponymously titled debut album from 1971 was an eclectic rock album featuring elements from jazz/rock, blues rock, progressive rock, and psychedelic rock driven by the high energy drumming by Keith Webb and the organ/piano playing by Peter Solley (the two founders of the band). The vocals from Lou Stonebridge were decent enough, but nothing out of the ordinary for the time, and all those elements and trends are continued on "Charge!".

The Roger Dean cover artwork is a bit misleading although Paladin certainly whips up a few progressive rock ideas, but this is generally a more blues rock and jazz/rock oriented release. No one would for example ever mistake a track like "Well We Might" for a progressive rock song. In fact most of the original Side 1 of the album falls in this catagory. It´s not until "Mix Your Mind With The Moonbeams" and "Watching The World Pass By" that Paladin begin to show a few more progressive tendencies. It´s nothing too complex or challenging, and still within a blues rock context, but Paladin had some nice adventurous ideas.

The album features brilliant musicianship, a powerful, organic, and detailed production job, and some solid songwriting. The latter is seldom above being solid though and it´s arguably the high level musicianship and the great energy of the performances which carry this album more than it is the songwriting. A 3 star (60%) rating is warranted.