437) Galliard — “And Smile Again”
Here is a soothing UK Renaissance folk-prog charmer. Jazz Rock Soul says “’And Smile Again’ is folksy and plaintive; [Geoff] Brown, affecting an Ian-Anderson-like tone, wraps vocal melodies around the accordion-laden, acoustic-plucked arrangement”. https://jazzrocksoul.com/artists/galliard/. Renaissance Festival anyone?!
As to Galliard, LPCDReissues tells us
Formed in the Midlands in 1969 . . . this innovative group recorded their second album for Decca’s Deram imprint in 1970. . . . Galliard failed to achieve the commercial success they deserved. Both “New Dawn” and their previous release “Strange Pleasure” . . . are among the most collectable and valuable records of the Progressive Rock genre.”
Jazz Rock Soul goes deeper:
Along with Colosseum . . . and the Keef Hartley Band, Galliard represented a UK wing of the brass-laden jazz-rock-soul sound, reflecting stateside contemporaries Blood Sweat & Tears, Chicago . . . . Galliard evolved from soul-rockers Immediate Pleasure, formed in mid-1968 by singer/guitarist Geoff Brown and guitarist/singer Richard Pannell [who had been members of] Craig, which issued two 1966 Fontana singles, including the psych-stormer “I Must Be Mad” [see #141] with lightning drumrolls by a young Carl Palmer . . . . After Craig folded, Brown and Pannell played in an Irish showband . . . . With a repertoire of Stax/Volt covers, they formed Immediate Pleasure and stabilized as a sextet . . . . [T]wo foreign influences informed their aesthetic: the burgeoning stateside brass-rock sound of Blood Sweat & Tears and Chicago Transit Authority; and the obscure, eclectic chamber-psych of Ars Nova. The latter group’s synthesis of Renaissance-like folk with brass arrangements inspired Brown to rename his band Galliard, the name of a 16th century folk dance. . . .https://jazzrocksoul.com/artists/galliard/
As to New Dawn as a whole, Sean Trane says:
Much more adventurous than its predecessor, [it] has a schizophrenic quality as half the tracks are pure brass-rock, but the other half is completely eclectic, and thankfully so. This second album is much worth the proghead’s investigation and investment.”
And Brum Beat relates that:
‘New Dawn’ was recorded in the Beatles’ legendary Abbey Road Number 2 studio. Surrounded by an array of extra instruments (including the famous Mellotron from Strawberry Fields), the band included supplemented brass sections, sitars, keyboards, sine-wave generators, accordion, harpsichord and other creative inputs . . . . The album . . . was far more ambitious and polished than the first album and the band had finally found its own sound.http://therockasteria.blogspot.com/2013/10/galliard-new-dawn-1970-uk-amazing.html
“Deep in the forest all covered in leaves, where all the ivy has clung to the leaves. Youth like a mantle and white shoulders lay. Waiting, arising to waken . . . the song to the winter night stealing the sky. See it fly. When she desired me she’d take up my hand and we’d run up to [distanting (?)] sand. We’d find the place where the sun touched the sea. Exploding in rainbows the energy. . . . We sang a song to the winter night stealing the sky. See it fly. Sing a song of love that couldn’t last. Sing a song with me about the past. Sing a song of love that couldn’t last. Sing a song with me about he past. And smile again. And smile again. Stained glass in window where sun came to call. We traced our fingers in patterns on the wall. Moss covered paving for stepping stones in snow. Snow crystal branches in woods over . . . . We sang a song to the winter night stealing the sky. See it fly. Now all that’s standing is the chimney and the leaves. And now my love [lays (?)] in forgotten dreams. Slowly the years now have hidden the hurt. . . . We sang a song to the winter night stealing the sky . . . .”
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