In the minds of many, Trapeze will be best remembered as the band that gave the now legendary Glenn Hughes his first major steps in the music world. On three albums recorded between 1969 and 1972, Hughes showed a strong vocal talent. Whether tackling strange psychedelic jams (as per the Trapeze debut), or losing himself within deep, soulful blues, it seemed there was nothing the young musician couldn’t take in his stride. It wasn’t until the release of 1972’s ‘You Are The Music…We’re Just The Band’, however, that Hughes and Trapeze really hit upon a perfect sound, with a blend of hard rock, blues and soul that would rival the likes of Free in terms of talent. As great as the album was – and remains – it failed to chart, but Trapeze hadn’t gone entirely unnoticed. Whilst playing live shows for the album, Hughes was headhunted by Ritchie Blackmore for a new line up of Deep Purple, and fter the release of their ‘Burn’ LP in 1974 – a massive hit on both sides of the Atlantic – Glenn’s career was catapulted into the stratosphere.
For a lot of rock fans, Glenn Hughes first came to prominence when he joined Deep Purple in 1974. In the few years leading up to that big breakthrough, he’d spent time working as bassist/vocalist with British rock band Trapeze. Although not big sellers, their first two albums were solid affairs, that showcased some talented musicians. 1970’s ‘Trapeze’ (produced by Moody Blues man John Lodge) presented a five piece band indulging in 60s freakouts and although enjoyable in its own way, almost felt dated by the time of its release in the May of that year. With Black Sabbath’s debut (released three months earlier) opening up new avenues for rock and the release of Deep Purple’s ‘In Rock’ literally a few weeks away, it was clear that Trapeze already sounded like yesterday’s men. By November, Trapeze had undergone an overhaul in both line up and sound and for their second album,‘Medusa’, the band’s core of Glenn Hughes (vox/bass), Mel Galley (guitar) and Dave Holland (drums) had reinvented themselves as a hard rocking power trio, cranking riffs in a style that often sounded like a tougher version of Free. With the previous hazy psychedelia having morphed into something harder and clearer, Hughes’s vocals were allowed to truly soar for the first time. A solid album, ‘Medusa’ showed a band who were truly on their way, but the best was yet to come…
Upon release in the summer of 2018, the first Glenn Hughes official bootleg box gained a mixed response. Some fans were delighted to have access to several hours’ worth of rare and unreleased live material at a bargain price, while others bemoaned the audio quality. Yes, five of its seven discs were sourced from audience recordings – and in a couple of cases, Hughes sounded as if he were miles away in a very large venue – but it’s hardly like the record company made secret of any audio roughness: the word “bootleg” should have set alarm bells ringing for the kind of audiophiles who consistently expect perfection. The first official bootleg box was rough in places, but for the more obsessive fan (or perhaps those who came to Glenn’s work late) it was a great collection filler. If nothing else, it was worth owning for a handful of spirited performances from a Brazilian show, a disc’s worth of near pristine acoustic tracks and a very welcome reissue of ‘Burning Japan Live’. A second set released in 2019 was similarly of a scattershot quality, but was worth having for a 1996 show promoting the heavy ‘Addiction’ album.
In terms of pop, 1982 was a strong year: Madness took a further step towards songwriting sophistication with their album ‘The Rise & Fall’, Prince made a huge breakthrough with his ‘1999’ double platter of much filthiness and Phil Collins showed us that the previous year’s ‘Face Value’ wasn’t just a one-off solo success when his “tricky second album” spawned a #1 hit single and a few of his best solo tunes.
With the string of superb albums starting with 1992’s ‘From Now On…’ through to 1999’s ‘The Way It Is’, the legendary Glenn Hughes released his most consistent block of work ever. Moving into the new century, both ‘Return of The Crystal Karma’ (2000) and ‘Soul of A New Machine’ were enjoyable enough, but sometimes lacked the overall consistency of those 90s albums. In 2003, Hughes released ‘Songs In The Key of Rock’, an album that pretty much showed off his full vocal range on a collection of brilliantly constructed hard rock tunes.