Trapeze: The Classic Rock Band That Deserves More Credit

When rock fans look back on the 1970s, certain names dominate the conversation like Led Zeppelin, Deep Purple, Black Sabbath, and Pink Floyd. These were the titans of the era, the bands that filled stadiums and defined what rock music could be. Yet beneath that towering mountain of success was a host of groups who carved out incredible music without ever reaching the same heights of fame. Among them, one name continues to pop up among collectors, musicians, and fans who know their history: Trapeze.

For those unfamiliar, Trapeze was a British band that blended blues rock, funk, soul, and hard rock into a unique and exciting sound. They never enjoyed mainstream success, but the musicianship, songwriting, and influence they carried were undeniable. Many listeners only discover Trapeze by tracing the careers of its more famous alumni, namely Glenn Hughes who went on to join Deep Purple and later forge a remarkable solo career along with Black Country Communion, or Mel Galley who would play with Whitesnake. But reducing Trapeze to just a stepping stone for other projects does them a disservice. They were a great band in their own right, with albums and songs that can stand toe-to-toe with the best of the 1970s. Here’s why Trapeze deserves more credit than they usually get.

Early Beginnings and Musical Vision

Trapeze formed in 1969 out of the ashes of The Montanas and Finders Keepers, two West Midlands bands that never quite broke big. The original lineup featured Glenn Hughes on bass and vocals, Mel Galley on guitar, Dave Holland on drums, John Jones on vocals, and Terry Rowley on keyboards. Produced by John Lodge of the Moody Blues, their debut self-titled album leaned heavily toward psychedelic rock with touches of prog, reflecting the late 1960s musical climate. While it was an interesting debut, it did not set the charts on fire.

The real magic happened when Trapeze slimmed down to a power trio of Hughes, Galley, and Holland. Stripping away the keyboards and additional vocals, the three-piece lineup found a raw, muscular sound that gave them more focus. It was a bold move. In an era when many bands were adding more players and layers, Trapeze went the other way, and it worked. Their music became leaner, punchier, and more direct, combining the grit of blues rock with the rhythmic drive of funk and soul.

Medusa: A Forgotten Classic

In 1970, Trapeze released Medusa, the album that should have launched them into wider recognition. From the opening notes of “Black Cloud,” it is clear the band had something special. Mel Galley’s guitar riffs are heavy but fluid, Glenn Hughes’ bass is melodic yet thunderous, and Dave Holland’s drumming ties everything together with precision and power.

The title track, “Medusa,” is one of the finest overlooked songs of the era, a slow-burning epic that builds from delicate verses into explosive choruses. Hughes’ vocals are astonishing, displaying the soulful power that would later make him a star with Deep Purple. Unlike many of their contemporaries, Trapeze was not afraid to mix moods. “Jury” and “Your Love Is Alright” add funky grooves, while “Seafull” slows things down with haunting beauty.

What makes Medusa so remarkable is its versatility. It is heavy enough to appeal to hard rock fans, soulful enough for blues aficionados, and groovy enough for funk listeners. Yet it never feels disjointed. Today, critics and fans who revisit Medusa often rank it as one of the great forgotten albums of the 1970s. It is not an exaggeration to say that if the album had been released under a more famous name, it would be hailed as a classic.

You Are the Music… We’re Just the Band

In 1972, Trapeze doubled down on their strengths with You Are the Music… We’re Just the Band. This record further showcased their ability to fuse genres seamlessly. “Keepin’ Time” and “Way Back to the Bone” bring funk and hard rock together with a swagger that predated much of what bands like the Red Hot Chili Peppers would do years later. “Coast to Coast” revealed a softer, soulful side, with Hughes delivering one of his most emotional vocal performances.

What is striking about this period of Trapeze is how forward-thinking they were. While many bands were content to stay in one lane, Trapeze embraced eclecticism. Their funk-infused approach set them apart from other British rock bands of the time. They were contemporaries of Led Zeppelin, Free, and Deep Purple, yet they sounded like none of them. This uniqueness should have been their calling card, but instead, it may have made them harder to market. Record labels and promoters often struggled with bands that did not fit neatly into one category, and Trapeze’s genre-blending may have been both their greatest strength and their biggest commercial hurdle.

Glenn Hughes Leaves and the Band Soldiers On

In 1973, Glenn Hughes was recruited by Deep Purple to replace Roger Glover on bass, a move that dramatically raised his profile. For many fans, this marked the end of Trapeze’s “classic” era. Hughes’ vocals and bass playing were such a defining feature that his departure was a significant blow. Yet Mel Galley and Dave Holland refused to let the band die.

Trapeze carried on with a rotating cast of musicians, including bassist Pete Wright and vocalist Peter Goalby, who would later join Uriah Heep. Albums like Hot Wire (1974) and Trapeze (1975) kept the flame alive. These records leaned more into straightforward hard rock, with less of the funk and soul influences that Hughes brought, but they still featured strong songwriting and Galley’s fiery guitar work. While the post-Hughes albums did not reach the same artistic heights as Medusa or You Are the Music, they were solid efforts that demonstrated Trapeze was more than just a one-man show.

The Cult Following

Despite never hitting the big time, Trapeze developed a loyal cult following. In the United States, particularly in the Midwest and South, they earned a reputation as a killer live act. They toured relentlessly, often opening for bigger names, and left a strong impression on those lucky enough to see them. American audiences, in fact, may have been more receptive to their funk-infused sound than British ones, and Trapeze became something of a hidden treasure for U.S. rock fans in the 1970s.

Their lack of mainstream recognition meant they never got the radio airplay or chart positions that could have propelled them higher. But those who knew them became passionate advocates. Musicians, in particular, respected them, not just because of Glenn Hughes’ eventual fame, but because Trapeze was simply a tight, talented band with a distinct style.

Legacy Through Its Members

Part of why Trapeze deserves more credit is the legacy of its members. Glenn Hughes went on to Deep Purple, Black Sabbath briefly,a prolific solo career, and Black Country Communion, earning the nickname “The Voice of Rock.” Mel Galley joined Whitesnake in the early 1980s, contributing to their rise before an unfortunate hand injury sidelined his career. Dave Holland became the drummer for Judas Priest, anchoring one of the biggest heavy metal bands of the decade.

Think about that for a moment: one small band from the Midlands produced future members of Deep Purple, Whitesnake, and Judas Priest, three of the most influential rock bands of all time. That alone should elevate Trapeze’s reputation. But what is often lost in the shuffle is that before all those famous gigs, these musicians were already making brilliant music together as Trapeze.

Why They Deserve More Credit

So why does Trapeze remain underappreciated? Part of it is timing. They emerged in a crowded British rock scene where competition was fierce and dominated by bands with stronger label backing and promotion. Part of it is identity. Their mix of funk, soul, and hard rock did not fit neatly into a box, making them harder to market. And part of it is simply luck. Some bands catch the right break, others do not.

But when you strip away the commercial side of the story, what remains is the music, and the music holds up. Medusa and You Are the Music… We’re Just the Band are not just good records, they are essential listening for anyone interested in the evolution of blues rock and hard rock in the 1970s. The performances are passionate, the songwriting adventurous, and the sound uniquely their own.

Trapeze also deserves more credit because of its influence. While they may not have sold millions of records, they paved the way for the funk-rock blends that would become more prominent in later decades. Bands like Mother’s Finest, Living Colour, and even elements of the Red Hot Chili Peppers owe something to the path Trapeze helped blaze.

A Band Worth Rediscovering

Today, Trapeze’s albums have been reissued, and the internet has made their music more accessible than ever. For younger listeners digging into classic rock beyond the usual suspects, discovering Trapeze can feel like finding buried treasure. The combination of Hughes’ soaring vocals, Galley’s guitar heroics, and Holland’s steady drumming is timeless.

They may never get the recognition they truly deserve, but among those who care about the roots and branches of blues rock, Trapeze’s reputation continues to grow. In recent years, critics and fans alike have revisited their catalog with fresh ears, often shocked that a band this good is not more widely celebrated.

In the grand tapestry of rock history, Trapeze might always remain a footnote, a band more famous for the careers its members went on to than for its own achievements. But that narrative does them a disservice. Trapeze was not just a training ground. They were innovators, risk-takers, and gifted musicians whose work stands tall even half a century later.

From the haunting beauty of “Medusa” to the funk swagger of “Way Back to the Bone,” their music is alive with creativity and passion. They should be remembered not only for who they influenced or where they went next, but for the brilliant, underappreciated body of work they left behind.

Trapeze deserves more credit, not just as a cult band or a curiosity in the careers of Hughes, Galley, and Holland, but as one of the most unique and underrated blues rock bands of the 1970s. It is time more people gave them the recognition they earned.