GAROLOU

The progressive rock scene in the Anglophone Canada during the 70's wasn't particularly robust. In spite of Canada's close connection with British music, the progressive scene didn't really take hold. Rush was the most well known band to attempt to apply English prog sensibility to their sound. However, for Francophones, progressive rock was given a huge welcome. Progressive rock was a way of creating contemporary music that gave them more freedom to express themselves without turning to the English language. Furthermore, progressive rock incorporated a lot of jazz and classical influences and for many Québécois musicians with degrees in the classical music or experience with jazz, progressive rock offered them the liberty of composing music as they liked. Several English bands were first welcomed to North America by Quebecers. Prior to the prog trend catching on in the rest of Canada and in the U.S., bands like Gentle Giant, King Crimson, Genesis, Yes, Camel, Supertramp, and Pink Floyd were filling concert halls in Québec, and as the Québec prog scene grew up, local bands opened for their major English counterparts. So, it was during those years that the progressive rock Québécois scene was at its strongest and with the several and varied influences of the English prog scene sewn in the music of many bands, such as, Morse Code, Maneige, Harmonium, Pollen and Garolou.

Garolou was fouded in 1975. It was originally called Lougarou, but had to change its name after being sued by a dance troup named Les Loups-Garous. The group became popular not only in Québec but across Canada, with its rock sound and its lyrics taken from French and French Canadian traditional songs. The group performed at many music festivals all over the Canada. During those years, Garolou released four studio albums, "Lougarou" in 1976, "Garolou" in 1978, "Romancero" in 1980 and "Centre-Ville" in 1982. By the time, the golden era of Québécois prog was in decline and Garolou cessed their activity in 1983. The band returned in the 90's and released in 1995 a live album called "Reunion", which captured Garolou's live experience. In 1999 a new studio album was released under the name of "Mémoire Vive".

So, "Garolou" is the second studio album of Garolou and that was released in 1978. The line up on the album is Michel Lalonde (vocals and guitar), Marc Lalonde (vocals and bass guitar), Gilles Beaudoin (backing vocals and lead guitar), Réginald Guay (backing vocals and keyboards) and Michel "Stan" Deguire (drums and percussion).

An interesting thing about the line up of Garolou is that they aren't properly originary of the French Canada what would to be expected. All five members of the band hailed from Ontario and not from Québec. Originally, the band was formed by the two brothers Marc and Michel Lalonde that started their artistic careers as members of the Prince Edward theatre group. After that, the pair formed a folk duo which then morphed into a full band with the addition of the guitarist George Antoniak, the keyboardist Steven Naylor and also the already mentioned drummer Michel "Stan" Deguire.

Garolou with their second work cling to the progressive rock and the traditional folk fusion. Fans recognize themselves in it and can appreciate it. "Garolou" is probably the best and most sucessful album of the band. The album was more successful than their previous one, even aligning several successes with the various charts. Musically, the band apparently made some major changes. Whereas "Lougarou" supposedly explored their interest in French Canadian folk music, "Garolou" found the band opting for a more conventional and commercial sound. It can be seen on many tracks on the album. "Germaine", "Aux Illinois", "La Complante Du Maréchal Biron" and above all "Victoria" became reference pieces and songs that the bar entertainers keen on the Québec repertoire take up again and again. For instance, "La Complante Du Maréchal Biron" was one of the most popular tracks on the FM radio. The same happened with "Aux Illinois". Both sounded great in the mid 70's FM radio stations and they would sound nice even in our days. Tracks like "Alouette" and the acapella "Wing-Tra- La" were traditional folk music songs that are part of the repertoire of the band.

Conclusion: This is another hidden piece from the Québec prog/folk scene. It may be easy to draw similarities to their more successful compatriots with their French crooning and strong use of acoustic instruments, Garolou do so in a way that is noticeably more light hearted and jovial, conjuring up an atmosphere all of their own, in a modern rock way with a prog rock twist. The references to various Québec folk songs and tales make of it an all the more intriguing and engaging experience. From what I know, this is one of their best and most accomplished prog albums. It's an album that oscilates between the traditional folk, such as, "Alouette", "Victoria" and "La Retraite De Bonaparte", and the prog folk music, like, "La Complainte Du Maréchal Biron", "Le Départ Pour Les États" and especially "Germaine". This is an album with some great musical moments, indeed, especially "Germaine", the great prog highlight on the album. And, above all, there isn't a single bad song on the album. So, I rated it with 4 stars. Garolou deserves more love on this site.

Prog is my Ferrari. Jem Godfrey (Frost*)

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