My Personal Comments: The debut album is titled simply "Galactic Cowboys", in the same vein as the Beatles' "white album". This CD has, in addition to some great music, a sub-plot. It chronicles the Apollo 11 moon landing in 1969, and audio clips of Neil Armstrong talking to Houston control can be heard in tracks 6 and 8. The band's vocal harmonies are excellent, and are very reminiscent of the Beatles. The best examples are the soaring harmonies of "Sea Of Tranquility", and the "la-la" stylization of "Kaptain Krude", both of which sound like something right out of "Abbey Road". While possessing a unique musical style, the band nevertheless sound a little like their good friends King's X. Both bands pit Beatles-style melodies and harmonies against heavy, distorted guitars. Also, the Cowboys are known for their cross-over productions with members of King's X. For example, on the latest Galactic Cowboys album, "Let It Go", King's X drummer Jerry Gaskill laid down all but three of the percussion tracks, since the band is currently minus a full-time drummer. Back to the debut album. Dane Sonnier's electric guitar solos on "My School" and "Why Can't You Believe In Me?" are awesome! In my opinion, there are no weak songs on this album. Every cut is a stand-out. This is still my favorite Galactic Cowboys album, even though the band's latest work ("At The End Of The Day" and "Let It Go"), is more polished, sophisticated, and better mixed. The raw guitar riffs and bass licks on this first album are strong and rythmic throughout, and Alan's drumming is tight. Ben's great acoustic guitar completes the scene, and adds a mellow touch to the overall heavy sound. The lyrics are intelligent and topical (with songs like "Kaptain Krude", a recounting of the escapades of the captain of the Exxon Valdez). "Speak To Me" ends the album. It is a thank you letter to God, and reminds the listener that while not a Christian rock band, the band members are Christians. A great first album, and well worth the six bucks you're going to pay for it in most record stores! (To be cont.)
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I recently found a copy of this great second album, which is currently out of print. It is quickly taking the place of the debut album as my favorite. But I wish someone would re-release this CD without the gaps inbetween the last three songs. The last two tracks on the CD were hidden so the band could include two more tracks than Geffen wanted. This was funny the first time I played the record, but it got old very quickly! I've made myself a tape without the gaps for convenience. Aside from that, this is one great CD! The album opens with "Space In Your Face", an in-your-face hard rock explosion that turns into the blues and then back to rock before segueing into the second track, a rocking number called "You Make Me Smile". This thing really packs a punch! The middle is very long, with a great extended guitar solo by Dane Sonnier. The third track, a Beatlesque number called "I Do What I Do", has some interesting instrumental changes back and forth between Dane's electric and Ben's acoustic. Track four, "Circles In The Fields", examines the phenomenon of crop circles, and has some great original riffs by Dane. The fifth track is a song that could be misunderstood if the only words you knew were its title, "If I Were A Killer." The first time I heard this song, I thought it was about Ted Bundy ("I'd smile just like the boy next door.") However, like "I'm Not Amused" on the first album, this song is actually a pro-life statement. It might be viewed as controversial by some for a rock band to include lyrics like this in their songs, but Ben, Monty, and the band pull no punches when it comes to their stance on Roe vs. Wade. Track six, "Blind", is another stab at the record executives who always seemed to have a hidden agenda that the band was oblivious to -- until they suddenly found themselves without a label! (Continued)
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"Machine Fish" is the hardest of the six full-length studio albums, a product that was fueled by the bands' built-up angst at the music industry after having been deceived by executives at the Geffen label. (A Pink Floyd reference comes to mind here: "It's a helluva start, it could be made into a monster if we all pull together as a team. And did we tell you the name of the game, boy? We call it Riding the Gravy Train.") Many of the Cowboys' lyrics are poetic and therefore, by definition, are cloaked in metaphor. After all, the artist sometimes tells you only so much, and leaves the rest up to you. Short of asking the band members a million questions, we can use messageboards, interviews, and deductive reasoning. Everyone can then glark the art in his or her own way, and any one of us could be right, wrong, or somewhere inbetween. "Feel The Rage", a rockin' number with Ben on lead vocal, opens the album, and invites the listener to "take a trip, step outside of this fishbowl life." What were the band saying here? One obvious answer, of course, is that being up onstage is like being in a fishbowl. You are on display, and you had better not let the audience down! Touring can be grueling, and sometimes you just want to "step outside of that fishbowl life." But another take on this is that we sometimes get so caught up in our day-to-day lives that we lose touch with the things that matter most to us. We therefore need to "step outside" of that fishbowl life, take a look at our problems objectively, and as a result, get a fresh outlook on things. Another take is that we like to feel that we have total freedom, but more likely than not, the various time-stealers in our lives, like our responsibilities (to our jobs, our children, our homes, etc.) take most of that freedom away from us. And every time we hit the side of the fishbowl, it is a realistic slap in the face. "Voice recalled ceramic youth in pots of broken truth" is the second line in this song. This line (and the rest of the song, for that matter) refers to the tortured lyrics of Kurt Cobain, formerly of Nirvana. (continued)
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Feel The Rage is a short collection of original, cover, and live songs. The title track is from the Machine Fish album. There are only two original songs on this CD, and one of them is a short country-blues parody ("Grandmother's Closet") which is only 44 sec. long. Sidenote: Putting a short ditty like this at the end of side one or two of an LP was very popular among rock bands in the sixties and seventies, and brings to mind classic groups like Canned Heat; Cream; Emerson, Lake, and Palmer; Pink Floyd; and of course, the Beatles. This, in addition to the covers of seventies bands Kiss and Paul McCartney and Wings, and the length of the album (which was about as long as you could hope for an LP to be in those days - they ranged from thirty to forty-five minutes, on average), makes me wonder if this CD was meant to be a tribute to that era of rock & roll. The short ditty, "Grandmother's Closet," sounds like a vinyl record, and the album ends with the sound a vinyl LP makes at the end of a side of the record if the player is not in automatic mode: it skips indefinitely along the inside groove. There are two live songs on this album, "Idle Minds" and "9th of June," both from Machine Fish. Two songs are covers from other rock bands: "I Want You" is a Kiss song written by Paul Stanley, and "Junior's Farm" is by Paul and Linda McCartney. The only full-length original number on this CD is "Paradigm Shift." At over seven minutes, it is the longest song on the disc. (Continued)
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The Horse That Bud Bought is the fourth full-length studio album by the Galactic Cowboys. This is a delightful album. It represents a slight shift in the Cowboys' musical style. Perhaps this was the "Paradigm Shift" the band spoke of on the EP Feel The Rage: a move to a more structured sound. Also, compared to Machine Fish, The Horse That Bud Bought is more mellow. There are heavy songs on the album, but the overall feel is much lighter. The album starts out heavy enough, with "Tilt-A-Whirl." Sometimes the group is so good at hiding the meaning that you just can't figure it out, but fortunately, they gave us one line which cracks the code: "There's much to be said for laboring in obscurity. It's as underrated as the benefits of suffering." The wild ride they're on now is with Metal Blade Records. This super-sarcasm stemmed from the CD sales still not being what they expected with the new label, despite the same optimism as before. Sidenote: how big does your following have to be in order for you to be considered "successful?" I would rather be a fan of a band like the Galactic Cowboys or King's X than Creed or Metallica (even though I love them all!), because at least the band members are accessible - you can talk to them after the show, get their autographs, and maybe even a posed photograph with one or more of the band members. Try doing that after a Creed concert! Public photo and autograph opportunities are fine, but the bigger crowd takes away from the intimacy. I'm sure the Cowboys feel the same way about their fans. Ben always answers my e-mail, despite being busy writing some new songs on his own (a solo album in the works?), which is a testament to how important he considers his fan base to be, even if I do seem to be full of @#%& sometimes and misquote the band's lyrics! Thanks, Ben! :o) (To be cont.)
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Every great rock band has their masterpiece. For the Beatles, it was Sgt. Pepper's Lonely Hearts Club Band. For Pink Floyd, it was Dark Side of the Moon. For the Moody Blues, it was Days of Future Passed. For the Galactic Cowboys, it was At The End Of The Day. This is the Cowboys at their best. It is one of the most eclectic GC collections out there. Lyrically and musically, it is truly a masterpiece. The album starts out with "Nothing To Say." The lyrics are somewhat ambiguous. Anyway, the music is great! Wally feeds us a solitary downtuned F in rapid strokes. Then Alan's drums and Monty's bass kick in with a vengeance, followed by Ben screaming out the lyrics like the true heavy front man he is. The song ends with some interesting distortion effects from Wally. "Ants," the second song on the album, could have also been titled "Flying," and there's no reason why this song should not be a solid hit on Light FM radio. "Ants" was engineered in an interesting way. If you listen to the song in a pair of good headphones, the ambience is strangely similar to that on the Beatles' album Revolver. Alan's drumming style is reminiscent of Ringo Starr's on that classic Beatles album. Monty sings a lot like George Harrison. Wally's guitar is tuned very much like Harrison's was on Revolver. And the mix is similar. Very spooky for an old Beatles fan who bought Revolver in the summer of 1966, in a small record shop in a small town in Connecticut. (It was the first album I bought by anyone. It was available in mono or stereo.) Back to ATEOTD. "Ants," according to author Monty, is about how it might feel like to be God. Track three, "Just Like Me," is a little trip into the narcissistic. I wonder how many of us have wished we could find a lover who was the opposite sex version of ourselves? I know I have! "Where Do I Sign," the fourth track on this album, launches the seven-part "Machine Fish Suite," which chronicles the band's history up to the recording of this album. (To be continued)
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"Let It Go" is the Galactic Cowboys' final release. I'll let Monty speak first on this one. It is a fantastic album, and a grand finale to ten great years of rock & roll...
"'Let It Go' is the 6th album released by Galactic Cowboys. The CD was produced by guitarist Wally Farkas, at our studio in Houston, TX. It features the songwriting and lead vocal skills of all the members - Wally, Ben Huggins, and myself, Monty Colvin. We basically threw out all the rules this time, and made an album that has a wide variety of styles, sounds, and textures. The songs range from fast, harder-edged tunes to softer, ballady stuff. The overall feel is more melancholy, but it is also filled with its share of lighthearted moments that we are known for. The vision of Galactic Cowboys has always been to use our God-given talents to produce the best art we can. Through the years we have had the opportunity to bless, entertain, and affect the lives of many people (at least that's what they tell us!). We have always maintained a high standard for the musical and lyrical content of our albums, and 'Let It Go' is no exception! From 10 years of recording and touring around the world, GC has build up a loyal fan-base. The GC listener has become accustomed to the quality and originality of each CD, and 'Let It Go' will definitely deliver!"
-Monty Colvin
singer/bassist/songwriter
Galactic Cowboys.
"Let It Go" is probably the lightest GC record, not because there are no hard rock numbers on the album (listen to "The Record Ends" -- all 12:33 of it -- if you can!), but because the band wanted to try as many new and different things as they could (like giving Monty and Wally more lead vocals) on their last time together in the recording studio. And by the way, the record couldn't have ended any better, despite what some people may think. Look at the album art on the front of the CD, and then look at the back (click here to see the back cover). There has definitely been a major cathartic release there, and the cacophony that is "The Record Ends" is the perfect audio compliment to that back cover. Breaking up is indeed hard to do, especially after ten years. It's also one last gasp of angst to be uttered by all of the members of the band (except Alan and Dane). The Galactic Cowboys never got the airplay they deserved. In addition to the difficulty radio stations and record stores had categorizing the Cowboys' eclectic musical style (heavy one moment, light the next; Christian or Secular, etc.), there are too many good bands out there competing for airplay, and the Metal Blade label just does not have the leveraging power that say, Warner Brothers, Atlantic, or Reprise has. (To be continued) |
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Here are all of the Galactic Cowboys' studio albums (plus the EP "Feel The Rage"), listed in chronological order. Click on the album covers to read the lyrics.
Galactic Cowboys
(Self-titled album)
DGC/Geffen, 1991
Catalog No. DGCD 24324
Produced by Sam "Houston" Taylor
A Wilde Silas Musicwork
Recorded/Engineered by Steve Ames at Rampart Studios, Houston, TX
Mastered by Bob Ludwig
A&R direction: Gary Gersh
Art Direction: Robin Sloane
Design by Pat Dillon
Illustrations by James McDermott
Photos by Keith Carter
Lettering by Awest
Copyright 1991 The David Geffen Company
A dynamite debut! The Lineup: Monty Colvin -- Bass, Vocals
Alan Doss -- Drums, Vocals, attempted clarinet
Ben Huggins -- Vocals, Acoustic guitar, Harmonica
Dane Sonnier -- Guitar, Vocals Other musicians performing on this album: Cello on tracks 2, 6, 9, and 10 by Max Dyer
Interludes courtesy of the Tomkyn Conservatorium de Musicalium. Sound effects: Barnyard animals sound effects also courtesy of the Tomkyn Conservatorium de Musicalium. Track List: 1. I'm Not Amused (6:21)
Colvin/Doss/Huggins
2. My School (6:40)
Colvin/Doss/Huggins
3. Why Can't You Believe In Me (6:34)
Colvin/Doss/Huggins
4. Kaptain Krude (6:08)
Colvin
5. Someone for Everyone (6:23)
Colvin
6. Sea of Tranquility (7:38)
Colvin/Doss/Huggins
7. Kill Floor (5:04)
Colvin
8. Pump Up the Space Suit (1:01)
Colvin/Doss/Huggins/Sonnier
9. Ranch on Mars (Reprise) (2:16)
Colvin/Doss/Huggins/Sonnier
10. Speak to Me (10:13)
Colvin/Huggins
Total run time - 59:28
Space In Your Face
DGC/Geffen, 1993
Catalog No. DGCD 24524
Produced/Recorded by Sam Taylor
A Wilde Silas Musicwork
Cellos recorded/engineered by Steve Ames at Rampart Studios
Engineered by Brian Garcia & Ryan Birsinger at Rivendell Recorders
Mastered by Howie Weinberg at Masterdisk, New York, NY
A&R direction: Gary Gersh
Art Direction/Design by Wendy Sherman
Photography by Chip Simons
Patchwork by Jim McDermott
Copyright 1993 The David Geffen Company
Currently out of print
The Lineup: Monty Colvin -- Bass, Vocals
Alan Doss -- Drums, Vocals
Ben Huggins -- Vocals, Acoustic guitar, Harmonica
Dane Sonnier -- Guitar, Vocals Other musicians performing on this album: Max Dyer and Fletch Wiley Track List: 1. Space In Your Face (1:39)
Doss
2. You Make Me Smile (4:20)
Colvin
3. I Do What I Do (5:21)
Colvin
4. Circles In the Fields (4:47)
Colvin
5. If I Were a Killer (3:56)
Doss/Huggins
6. Blind (7:49)
Colvin/Huggins
7. No Problems (7:23)
Doss/Huggins/Colvin
8. About Mrs. Leslie (5:12)
Doss/Huggins
9. Where Are You Now? (7:50)
Colvin
10-20. (dead space)
Ranch On Mars (5:05) (song is actually inbetween tracks 20 & 21)
Colvin
21-31. (dead space)
32. Still Life of Peace (6:55)
Colvin/Huggins
Total run time - 73:46
Machine Fish
Metal Blade Records, 1996
Catalog No. 3984-14105-2
Produced by Alan Doss
Executive Producer Brian Slagel
Engineered and recorded by Ryan Birsinger at Rivendell Recorders
Mastered by Eddy Schreyer at Future Disc
Art Direction - Brian Ames
Paintings/Cover Art by Monty Colvin
Photos by Jim Hime
Copyright 1996 Metal Blade Records
Heavy metal at its hardest! A lot of built-up angst concerning the music industry fueled this one. The Lineup: Ben Huggins -- Vocals, Acoustic guitar, Blues Harp
Monty Colvin -- Bass, Vocals
Wally Farkas -- Guitars, Vocals, keyboards
Alan Doss -- Drums, Vocals, keyboards
Track Listing: 1. Feel the Rage (3:13)
Colvin/Huggins
2. The Struggle (5:54)
Colvin
3. Fear Not (5:02)
Colvin
4. Stress (4:35)
Colvin
5. Psychotic Companion (7:32)
Colvin
6. In This Life (3:13)
Colvin/Huggins
7. Easy to Love (4:08)
Colvin
8. Red Sun (4:59)
Colvin/Huggins/Doss
9. Idle Minds (4:11)
Huggins/Colvin/Doss
10. The Lens (5:24)
Doss/Huggins/Colvin
11. Pattin' Yourself on the Back (3:45)
Colvin
12. In a Lonely Room (4:45)
Colvin
13. 9th of June (5:23)
Colvin
14. Arrow (6:57)
Huggins/Doss
Total run time - 69:01
Bonus track (Japan pressing only) - It's Raining (Again)
Feel The Rage (EP)
Metal Blade Records, 1996
Catalog No. 3984-14117-2
Produced by Alan Doss
Executive Producer Brian Slagel
Engineered and recorded by Ryan Birsinger at Rivendell Recorders
"I Want You" engineered by Ryan Birsinger & Brian Garcia
Live tracks recorded at The Abyss (Houston) by Brian Garcia
Mastering by Bob Boyd at Ambient Productions
Art Direction Brian Ames
Paintings/Cover Art by Monty Colvin
Photos by Jim Hime
Copyright 1996 Metal Blade Records
Only about thirty minutes of music on this EP, and two of the songs were covers of other bands' material. A good collection, with two live songs at the end of the CD. The Lineup: Ben Huggins -- Vocals, Acoustic guitar, Blues Harp
Monty Colvin -- Bass, Vocals
Wally Farkas -- Guitars, Vocals, keyboards
Alan Doss -- Drums, Vocals, keyboards Track Listing: 1. Feel the Rage (3:12)
Colvin/Huggins
2. Paradigm Shift (7:28)
Huggins/Colvin/Doss
3. I Want You (4:11)
P. Stanley (Kiss)
4. Junior's Farm (5:14)
P. McCartney/L. McCartney Wings
5. Idle Minds (Live) (4:28)
Huggins/Colvin/Doss
6. 9th of June (Live) (6:15)
Colvin
7. Grandmother's Closet (0:44)
Colvin/Doss/Farkas/Huggins
Total run time - 31:37
The Horse That Bud Bought
Metal Blade Records, 1997
Catalog No. 3984-14127-2
Produced/engineered/recorded/mixed by Alan Doss & Brian Garcia
Mastering by Bob Boyd at Ambient Digital
Art Direction by Brian Ames
Paintings/Cover Art by Monty Colvin
Photos by Jackboy Johnson
Copyright 1997 Metal Blade Records
A great collection of tunes, well balanced between heavy and mellow numbers. The Lineup: Ben Huggins -- Vocals, Acoustic guitar, Blues Harp
Monty Colvin -- Bass, Vocals
Wally Farkas -- Guitars, Vocals, keyboards
Alan Doss -- Drums, Vocals, keyboards Track Listing: 1. Tilt-a-Whirl (3:22)
Farkas/Huggins/Doss
2. Evil Twin (3:06)
Colvin
3. Oregon (4:30)
Colvin
4. The Buzz (coughing) (1:25)
Colvin/Huggins
5. Tomorrow (4:48)
Colvin
6. Ribbon (5:03)
Huggins/Colvin/Doss/Farkas
7. Breakthrough (3:38)
Doss/Huggins/Farkas
8. Bound (4:35)
Colvin/Huggins
9. Media Slant (3:10)
Colvin/Huggins
10. Mona Lisa (6:08)
Colvin
11. I Can't Wait (3:26)
Huggins/Colvin/Doss/Farkas
12. Trip On Love (4:04)
Doss/Huggins/Farkas
13. You've Changed (3:42)
Colvin
14. My Life (6:00)
Farkas/Colvin/Huggins/Doss
Total runtime - 56:57
Bonus track (Japan release only) - Every Knee (5:59)
Colvin/Huggins
At The End Of The Day
Metal Blade Records, 1998
Catalog No. 3984-14138-2
Release date: September 22, 1998
Produced/Engineered/Recorded/Mixed by Alan Doss
"It's Not Over" Produced/Recorded by Alan Doss and Brian Garcia
Recorded at Sunflower Studios, Houston TX March-June 1998
Drums recorded by Ryan Birsinger
Mastering Bob Boyd at Ambient Digital
Art Direction by Brian J Ames
Paintings/Cover Art by Monty Colvin
Photos by Alex Solca
All songs published copyright 1998 Galactic Cowboys, WB Music Corp/Sharp Blade Music/Galactic Noise Music.
Administered by WB Music Corp ASCAP
This is the Masterpiece, folks. The Lineup: Ben Huggins -- Vocals, Acoustic guitar, Blues Harp
Monty Colvin -- Bass, Vocals
Wally Farkas -- Guitars, Vocals, keyboards
Alan Doss -- Drums, Vocals, keyboards Track Listing: 1. Nothing To Say (4:35)
Lead vocals by Ben
2. Ants (4:05)
Lead vocals by Monty
3. Just Like Me (4:28)
Lead vocals by Ben
The Machine Fish Suite:
4. a. Where Do I Sign? (2:49)
Lead vocals by Ben
5. b. Bright Horizons (1:23)
Lead vocals by Ben & Monty
6. c. Puppet Show (5:11) lead vocals by Ben
7. d. Mr. Magnet (2:59)
Lead vocals by Monty
8. e. Never Understand (4:17)
Lead vocals by Monty
9. f. Ranch On Mars Pt. 2 (Set Me Free) (4:18)
Lead vocals by Monty
10. g. How Does It Feel (3:31)
Lead vocals by Ben
11. Young Man's Dream (4:42)
Lead vocals by Ben
12. Shine (4:09)
Lead vocals by Ben
13. The Shape (3:46)
Lead vocals by Ben
14. It's Not Over (4:48)
Lead vocals by Ben & Monty
15. Through (7:20)
Lead vocals by Alan
16. At the End of the Day (3:09)
Total Runtime - 65:30
Bonus track (Japan release only) - Things They Couldn't Say (6:07) (recorded in 1994 - guitar/lead vocals by Dane Sonnier)
Let It Go
Metal Blade Records, 2000
Catalog No. 3984-14299-2
Release date: June 20, 2000
Produced by Wally Farkas
Recorded by Wally Farkas, Alan Doss, Ben Huggins at 1441 Studios (Houston, TX)
Drums and bass engineered by Brian Garcia
Other tones generated by Alan Doss, Wally Farkas, Ty Tabor
Mixed by Alan Doss at 1441 Studios
Mastered by Bob Boyd at Ambient Digital, Houston, TX
Art direction by Brian Ames
Photography and paintings by Monty Colvin
A Fond Farewell The Lineup: Monty Colvin -- Bass, Vocals, keyboards
Wally Farkas -- Guitars, Vocals
Ben Huggins -- Vocals, Acoustic guitar, Blues Harp Other musicians performing on this album: Jerry Gaskill (drums)
Max Dyer (cellos)
Shane Huggins (handclaps)
Tamra Perkinson (background vocals)
Nano Jones (drums)
Robert Rich (intro to track 13)
and the Little LaLa People Track Listing: 1. Intro (1:13)
2. T.I.M. (3:34)
Lead vocals by Monty
3. A Different Way (3:32)
Lead vocals by Monty
4. Life and Times (4:33)
Lead vocals by Wally
5. Flag (3:15)
Lead vocals by Ben & Wally
6. Disney's Spinnin' (4:35)
Lead vocals by Monty
7. Hey Mr. (5:51)
Lead vocals by Ben
8. Another Hill (4:49)
Lead vocals by Monty
9. Dirty Hands (3:31)
Lead vocals by Wally
10. Boom! (1:20)
Instrumental - chants by Jerry Gaskill
11. Ordinary (2:52)
Lead vocals by Ben
12. Internalize (2:43)
Lead vocals by Monty
13. Swimming in December (10:28)
Lead vocals by Monty
14. Song for Sybo (2:51)
Instrumental
15. Future (3:31)
Lead vocals by Ben
16. Bucket of Chicken (2:42)
A live improvisational jazz odyssey (honey)
17. The Record Ends (12:33)
Lead vocals by Monty
Total run time - 73:53 |
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