Trapeze -

Trapeze was an English hard-rock band that released three albums on Threshold between 1970 and 1972. After the departure of bassist/singer Glenn Hughes for Deep Purple, guitarist Mel Galley led Trapeze for two albums on Warner in 1974/75 and a final on Aura in 1978. Galley later worked with Cozy Powell and Whitesnake and re-teamed with Hughes in the hard-rock super-project Phenomena. Drummer Dave Holland joined the 1980s lineup of Judas Priest.

Starting with their 1970 sophomoric release Medusa, Trapeze fused their bluesy hard-rock sound with rhythmic and vocal elements of American soul-funk, presaging the funk-rock of mid-’70s acts like Stretch, Streetwalkers, Bandit, Crawler, Detective, Krazy Kat, Racing Cars, and the Ian Gillan Band.

Members: Mel Galley (lead guitar, vocals), Dave Holland (drums, percussion, 1969-79, 1991-94), Glenn Hughes (bass, vocals, guitar, piano, trombone, rhythm guitar, 1969-73, 1991-94), John Jones (vocals, trumpet, 1969-70), Terry Rowley (organ, guitar, piano, flute, 1969-70), Rob Kendrick (guitar, vocals, 1974-76), Pete Wright (bass, 1974-81), Peter Goalby (guitar, lead vocals, 1978-81)

Formation

Trapeze formed in March 1969 in Cannock, Staffordshire, when three members of the pop-psych combo Finders Keepers — bassist/singer Glenn Hughes, guitarist Mel Galley, and drummer Dave Holland — teamed with two veterans of beatsters The Montanas: singer/trumpeter John Jones and keyboardist/flautist Terry Rowley.

That July, they were filmed performing Rowley’s “Send Me No More Letters” for an episode of BBC2’s Colour Me Pop. The exposure and ensuing raves earned the band contract offers from The Beatles‘ Apple Records and The Moody Blues‘ Threshold Records. Trapeze took the latter option, assuming it would grant them more creative freedom.^[1] Moodies bassist John Lodge produced their first two albums.

Trapeze

Trapeze released their self-titled debut album in May 1970 on Threshold.

The album presents the original lineup of Glenn Hughes (bass, vocals), Mel Galley (guitar, vocals), John Jones (vocals, percussion), Terry Rowley (keyboard, guitar), and Dave Holland (drums) navigating a hybrid of pop-psych and emerging symphonic rock. The material blends electric and acoustic textures, alternating soft and heavy passages, with cathedral organ and fuzz-toned guitar layered over tightly structured sequences.

Hughes wrote five tracks, including the brisk, harmonized opener “The Giant’s Dead Hoorah!,” the subdued “Nancy Gray,” and the acoustic “Am I.” He co-wrote “Wings” with Galley and “Another Day” with Galley and Rowley. Jones and Galley collaborated on four songs, including the bass- and organ-driven “Suicide,” the swelling, open-cadence “It’s My Life,” and the seven-minute multi-section “Fairytale/Verily Verily/Fairytale,” which combines organ gallops, jazzy interludes, and a rhythmless folk harmony passage. Rowley’s piano and strings arrangement anchors “Send Me No More Letters,” issued ahead of the album as a single. Galley’s brief prelude/reprise “It’s Only a Dream” bookends the set.

The album opens with the minimalist prelude “It’s Only a Dream,” flowing into the propulsive “The Giant’s Dead Hoorah!,” with layered harmonies over driving guitar lines. “Over” balances rhythmic precision with textural contrasts. “Nancy Gray” leans into subdued, atmospheric passages, while the “Fairytale” suite moves between jazzy organ runs and rhythmless folk sections. “It’s My Life” emphasizes open-cadence bass and Hammond interplay, “Am I” features delicate acoustic picking, and “Suicide” drives with bass-heavy organ riffs. “Wings” delivers cowbell accents in a boogie-rock framework. The album closes with the declamatory “Another Day” and a reprise of “It’s Only a Dream,” providing symmetry to the set.

A1. “It’s Only a Dream” (0:42)
A2. “The Giant’s Dead Hoorah!” (3:33)
A3. “Over” (3:38)
A4. “Nancy Gray” (2:48)
A5. “Fairytale” (1:58)
A6. “Verily Verily” (3:31)
A7. “Fairytale” (2:11)

B1. “It’s My Life” (2:51)
B2. “Am I” (3:07)
B3. “Suicide” (4:51)
B4. “Wings” (3:30)
B5. “Another Day” (2:37)
B6. “Send Me No More Letters” (4:36)
B7. “It’s Only a Dream” (0:37)

Sessions occurred during winter 1969–70 at Morgan and Decca Studios in London. John Lodge oversaw production and engineering.

Threshold promoted the album with the single “Send Me No More Letters.” Shortly after the release, Jones and Rowley departed to return to The Montanas, reducing Trapeze to Hughes, Galley, and Holland, who continued in a hard-rock power trio format.

Later artists referencing Trapeze include Glenn Hughes’ solo projects and 1970s hard rock bands that incorporated similar bass and organ-driven textures.

Medusa

Trapeze released their second album, Medusa, in November 1970 on Threshold.

Medusa presents the trio of Mel Galley (guitar, vocals), Glenn Hughes (bass, vocals), and Dave Holland (drums) as a concentrated unit, blending hard rock, blues, and funk elements. The album emphasizes structured riffs, sudden tempo shifts, and dynamic vocal contours, moving away from the earlier psychedelic leanings of the band’s debut.

Guitarist Mel Galley wrote five tracks, co-writing four with his brother Tom Galley. Glenn Hughes contributed the slow, soulful “Seafull” and the title track, which combines acoustic passages with full-band climaxes. Dave Holland’s drumming anchors the band’s explorations in both tight and elastic rhythmic sections.

The album opens with “Black Cloud,” alternating between heavy and calm sections, layered with intricate guitar lines and Hughes’ forceful yet expressive vocals. “Jury” begins as a subdued ballad before erupting into a precise, riff-driven section with cyclical returns to the opening theme. “Your Love Is Alright” and “Makes You Wanna Cry” feature funk-inflected patterns and angular guitar lines, with Galley singing the latter. “Touch My Life” juxtaposes measured passages with explosive riffs. “Seafull” delivers plaintive, blues-rooted lines with Hughes’ emotive voice at the forefront. Medusa closes with the title track, moving from gentle acoustic segments to powerful, riff-based climaxes and a dramatic vocal crescendo.

A1. “Black Cloud” (6:03) — alternating heavy and calm sections; layered guitar work; expressive vocals
A2. “Jury” (6:10) — begins as ballad; shifts to hard riffing; returns to opening motif
A3. “Your Love Is Alright” (4:54) — angular riffs; funk-inflected bass and drumming; improvisational feel
A4. “Touch My Life” (4:06) — contrast between restrained passages and explosive guitar lines

B1. “Seafull” (6:34) — blues-based; emotive bass and vocal lines; contemplative mood
B2. “Makes You Wanna Cry” (4:41) — funk-inflected; Galley on vocals; driving riffs
B3. “Medusa” (5:42) — acoustic intro; heavy riff section; vocal crescendo

Sessions occurred at Morgan Studios in London with producer John Lodge and engineering by John Lodge.

Medusa features a cubist gatefold cover illustrated by Threshold artist Phil Travers, with inner-fold band photos by David Rohll, future mastermind behind the symphonic super-project Mandalaband.

Threshold promoted Medusa with the single “Black Cloud” (b/w “Your Love Is Alright”). Trapeze toured the US in support of the album, opening the winter 1970–71 Moodies tour.

Later artists covering Trapeze tracks include Glenn Hughes’ own solo projects and various 1970s hard rock acts referencing the band’s riff structures and rhythmic approaches.

You Are the Music…We’re Just the Band

Trapeze released their third album, You Are the Music…We’re Just the Band, in November 1972 on Threshold.

The album captures the trio of Glenn Hughes (bass, piano, vocals), Mel Galley (guitar), and Dave Holland (drums, percussion) at a peak moment of hard rock and funk-infused experimentation. The sessions include guest appearances from steel guitarist B. J. Cole, keyboardists Rod Argent and Kirk Duncan, vibraphonist Frank Ricotti, percussionist John Ogden, and alto saxophonist Jimmy Hastings, expanding the band’s texture with jazz, funk, and subtle country influences.

Glenn Hughes wrote five of the eight tracks, while Mel Galley and his brother Tom contributed three, including the closing title track. Hughes’ compositions emphasize funk and jazz touches, whereas the Galley brothers provide the hard rock and boogie-oriented songs.

The album balances energetic, riff-driven rock with ballads and mid-tempo explorations. “Keepin’ Time” opens with a sharp, rhythmic drive punctuated by Cole’s steel guitar. “Coast to Coast” showcases Hughes’ expressive vocal phrasing over acoustic guitar and electric piano lines from Argent. “What Is a Woman’s Role” and “Way Back to the Bone” combine funk-tinged riffs with jazz-rock breaks, while “Feelin’ So Much Better Now” moves into a high-energy glam-boogie frame. “Will Our Love End” introduces vibraphone and saxophone textures, and “Loser” returns to hard rock riffs, concluding with the title track’s mid-tempo boogie.

A1. “Keepin’ Time” (3:42) — written by Mel Galley, Tom Galley; features steel guitar by B. J. Cole.
A2. “Coast to Coast” (4:02) — written by Glenn Hughes; Cole on steel guitar, Rod Argent on electric piano.
A3. “What Is a Woman’s Role” (5:45) — written by Glenn Hughes; Kirk Duncan on electric piano, John Ogden on percussion.
A4. “Way Back to the Bone” (5:30) — written by Glenn Hughes.
B1. “Feelin’ So Much Better Now” (3:40) — written by Glenn Hughes; Rod Argent on piano.
B2. “Will Our Love End” (5:07) — written by Glenn Hughes; Frank Ricotti on vibraphone, Jimmy Hastings on alto saxophone.
B3. “Loser” (4:45) — written by Mel Galley, Tom Galley.
B4. “You Are the Music” (5:21) — written by Mel Galley, Tom Galley.

Sessions occurred at Decca and Island Studios in London with producer Neil Slaven and engineers John Burns and Dave Grinsted.

Threshold promoted the album with the single “Coast to Coast” (b/w “Your Love Is Alright”) in September 1972.

The album demonstrates Trapeze’s fusion of hard rock riffs, funk rhythms, and expressive vocal phrasing, highlighting Hughes’ emerging soul-influenced delivery and the trio’s versatility in blending rock, jazz, and blues textures.

Hot Wire

Trapeze released their fourth album, Hot Wire, on September 13, 1974, on Warner Bros.

The lineup features Mel Galley on guitar and lead vocals, Rob Kendrick on guitar, Pete Wright on bass, and Dave Holland on drums. The album was co-produced by the band and Neil Slaven and marked the first recordings following Glenn Hughes’ departure, emphasizing a more conventional hard rock approach with AOR and funk elements threaded throughout. Terry Rowley contributes synthesizers, organ, and electric piano, with backing vocals from Kenny Cole and Misty Browning, congas from John Ogden, and saxophone from Chris Mercer, adding layered textures across several tracks.

Mel and Tom Galley wrote seven of the eight tracks, with Dave Holland co-writing “Steal a Mile.” The compositions mix blues-rock riffs, funk-infused passages, and mid-tempo AOR stylings, with songs like “Back Street Love,” “Take It on Down the Road,” and “Goin’ Home” emphasizing driving hard rock, while “Midnight Flyer,” “Turn It On,” and “Free It Inside” integrate funk rhythms and extended instrumental interplay.

A1. “Back Street Love” (5:01) — blues-rock riffing with a Paul Rodgers-style vocal approach.
A2. “Take It on Down the Road” (4:45) — wah-wah guitar and dynamic bass lines.
A3. “Midnight Flyer” (6:01) — AOR and funk fusion, featuring interlocking guitar and bass textures.
A4. “Wake Up, Shake Up” (3:55) — straightforward rock drive with concise arrangements.

B1. “Turn It On” (5:11) — white-boy funk with prominent bass and sharp guitar interplay.
B2. “Steal a Mile” (4:52) — Southern rock opening with saxophone accents.
B3. “Goin’ Home” (5:14) — hard rock focus with extended backwards guitar solos.
B4. “Feel It Inside” (8:42) — extended funk-rock jam with backing vocals and improvisational sections.

Sessions occurred at Island Studios in London and Lee Sound Studios in Birmingham with producer Neil Slaven and engineer Rhett Davies, assisted by Dave Hutchins and Don Stewart.

The album did not have official singles but reached number 146 on the US Billboard 200, demonstrating the band’s continuity and evolving sound after Hughes’ departure.

Hot Wire blends driving hard rock and AOR blues-rock with funk passages, highlighting Mel Galley’s commanding vocal presence and dual-guitar textures alongside rhythmic experimentation from Wright and Holland, while extended instrumental passages on tracks like “Feel It Inside” allow the quartet to explore expansive tonal and rhythmic interplay.

Trapeze

Trapeze released their self-titled fifth album in September 1976 on Warner Bros.

The lineup features Mel Galley on guitar and lead vocals, Rob Kendrick on guitar, Pete Wright on bass, and Dave Holland on drums. Former member Glenn Hughes returns for guest vocals on two tracks. Produced by Steve Smith at Island Studios, London, the album continues the band’s shift toward AOR-styled hard rock with blues-rock influences and a more streamlined twin-guitar sound.

Mel Galley wrote six of the ten tracks, co-writing “Chances” with Tom Galley and Glenn Hughes, and “Gimme Good Love” with Tom Galley and Steve Smith. The album also includes a cover of Frank Sinatra’s “On the Sunny Side of the Street” (Jimmy McHugh, Dorothy Fields).

Musically, the album divides into concise blues-rockers, funk-infused rockers, and one instrumental showcase. “Star Breaker” opens with sharp guitar riffs and Galley’s commanding vocal, while “It’s Alright” explores country-tinged blues textures. Guest vocals from Hughes appear on “Chances” and “Nothin’ for Nothing,” the former a subdued acoustic ballad, the latter a blues-rock track. Mid-tempo numbers like “Monkey” and “Soul Stealer” emphasize tight rhythm and dual-guitar interplay, while “The Raid” offers an instrumental jam highlighting the quartet’s technical fluency.

A1. “Star Breaker” (3:30) — driving hard rock with sharp guitar riffs.
A2. “It’s Alright” (4:12) — country-tinged blues-rock with dynamic guitar textures.
A3. “Chances” (2:30) — acoustic ballad with subtle jazz inflections, featuring Hughes on vocals.
A4. “The Raid” (2:45) — instrumental studio jam with guitar spotlighting.
A5. “On the Sunny Side of the Street” (2:40) — blues-rock/boogie interpretation of the Frank Sinatra classic.

B1. “Gimme Good Love” (3:10) — straightforward AOR rhythm with layered guitars.
B2. “Monkey” (3:40) — mid-tempo rocker with interlocking guitar riffs and strong vocals.
B3. “I Need You” (4:35) — blues-rock number recalling Paul Rodgers-style delivery.
B4. “Soul Stealer” (3:30) — concise rock with dual-guitar interplay.
B5. “Nothin’ for Nothing” (3:53) — blues-rocker with guest vocals from Hughes employing a nasally timbre.

Sessions occurred at Island Studios in London with producer Steve Smith and engineer Phil Brown, mastered by Bobby Hata.

The album was preceded by the single release of “On the Sunny Side of the Street,” offering a reimagined blues-rock arrangement of the Sinatra standard.

Trapeze consolidates the band’s post-Hughes sound, emphasizing twin-guitar textures, mid-tempo rockers, and AOR sensibilities, while guest appearances and instrumental experimentation provide occasional contrasts within a tight, professional framework.

Hold On

Trapeze released their sixth album, Hold On, in 1978 on Aura. In Germany, Shark Records re-titled the album Running, released with a nude female cover.

The lineup features Pete Goalby on lead vocals and rhythm guitar, Mel Galley on lead guitar and backing vocals, Pete Wright on bass, Dave Holland on drums and percussion, and Terry Rowley on keyboards and string arrangements. The band co-produced the album with Jimmy Miller. The collection moves toward stadium-ready hard rock with blues-rock inflections, blending Trapeze’s earlier funk-rock energy with a polished mainstream approach.

Mel Galley wrote five tracks, while Pete Goalby contributed three songs: “Don’t Ask Me How I Know,” “When You Get to Heaven,” and “Livin’ on Love.” Galley and Goalby share vocals on “Running,” and the title track “Hold On” highlights Galley’s guitar work and talk-box effects.

The album mixes mid-tempo blues-rockers, country-tinged rockers, and orchestrated ballads. “Don’t Ask Me How I Know” opens with a breezy, country-flavored rhythm, emphasizing Goalby’s twangy voice and Galley’s slide guitar. “Take Good Care” showcases the duo’s harmony and interplay over bright, pop-rock rhythms. “Time Will Heal” closes with a six-minute blues ballad featuring Galley’s expressive guitar and heartfelt lead vocal. Tracks like “Hold On” and “Running” blend driving riffs with accessible rock phrasing, while “Don’t Break My Heart” employs orchestration and gradual dynamic shifts.

A1. “Don’t Ask Me How I Know” (2:48) — country-tinged rocker with slide guitar and bright vocal phrasing.
A2. “Take Good Care” (3:34) — mid-tempo rock with Goalby/Galley harmonies.
A3. “When You Get to Heaven” (4:08) — blues-rock riffing supporting Goalby’s vocal.
A4. “Livin’ on Love” (3:47) — Southern-rock flavor with hoedown-style chorus.
A5. “Hold On” (5:02) — talk-box guitar and mid-paced rock dynamics.

B1. “Don’t Break My Heart” (5:43) — orchestrated ballad with shifting tempo into rockier passages.
B2. “Running” (4:27) — shared vocals with Goalby, commercial rock pacing.
B3. “You Are” (4:45) — slower ballad with understated guitar and vocal lines.
B4. “Time Will Heal” (6:37) — extended blues-rock ballad with melodic leads and emotional phrasing.

Sessions occurred at Aura-associated studios with Trapeze and Jimmy Miller co-producing.

Record label promoted the album with “Don’t Ask Me How I Know” (b/w “Take Good Care”) and followed with the single “Running Away” (b/w “Don’t Break My Heart”) in 1980.

Hold On represents Trapeze’s final studio effort, integrating Goalby’s vocals and Galley’s lead guitar into a refined hard rock framework while retaining traces of the band’s earlier funk-rock energy.

Discography: