Review: Galactic Cowboys – The Ranch That Matt (Hunt) Bought (The Metal Blade Years on CD and Vinyl)

But I’ll tell ya, at the end of the day, you’ve got to be able to look at yourself in the mirror and know that you’ve loved your neighbor and treated him right … treated him right… treated him right…

Original Cowboys

One of the most revered (especially by other musicians) progressive metal bands of the ‘90’s, Galactic Cowboys have left a legacy of great music in the wake of their sometimes turbulent, yet richly productive career. Their mix of witty lyrics, aggressive thrashy guitars and Beatles-esque harmonic singing was totally original at the time. Furthermore, their music has largely held up as enjoyable over the course of the past three decades.

Portnoy Praise

Interestingly, Dream Theater, who carried the Cowboys as an opening act on their Images and Words tour (‘92/’93), are some of the band’s best-known musician fans, drummer Mike Portnoy even joining the band on the stage to sing during that tour. Portnoy is often quoted touting the Galactic Cowboys as “one of the great bands of the time” and remains friends with several of the band members to date.

However, despite the accolades of press, musicians and fans alike, a band called Nirvana came along and the rest was history … well actually, Nevermind…

At The End of Geffen’s Day

While many music critics and fans alike rank those first two Geffen records (see discography below) as quintessential Galactic Cowboys output, the Houston, Texas natives were not anywhere near the end of their creative day despite the devastating release of the band from David Geffen Records and the subsequent departure of guitarist Dane Sonnier.

Wally’s World

Fortunately, and to the Galactic Cowboys’s credit, instead of trying to recreate the magic crafted with Sonnier, they charted a new course with then guitar tech/subsequent guitarist and eventual producer Wally Farkas (molkenmusic.com), an event fueled by the synchronous signing of Galactic Cowboys by Metal Blade Records.

Metal Blade

Consequently, as David Geffen’s loss became Brian Slagel’s gain, the Galactic Cowboys – while not becoming the prodigiously promised “next big thing” – were mercifully granted new life. Four years and four full-length releases plus an EP later the prelude to the millennial eclipse passed … and the rest is Galactic Cowboys history. Yet despite the efforts of our protagonists, their music never received the treatment it deserved.

Brutal Planet

Thankfully, time has not erased these Metal Blade era gems. Along comes Matthew Hunt (Brutal Planet Records), purveyor of metal history, with his crew of metal resurrectionists, to construct a “box” set comprising all the Metal Blade era releases – reissued and remastered.

The Box That Bud Bought

Not only have the releases been remastered by Rob Colwell, but they’ve also been lavishly repackaged into 4 thin triple gatefold CD wallets in one cardboard sleeve featuring new artwork from Monty Colvin on the box cover.

Machine Fish and Feel the Rage are two discs in one, while the other three releases have their own CD wallets. Hence, five discs are packaged into four in this exclusive set limited to 500 copies worldwide. Each release features full lyrics/credits printed on the glossy gatefold sleeves, except for the lyrics from “Paradigm Shift” and the two cover songs on Feel the Rage.

Cowboys on Vinyl

In addition to the CD box, Matt Hunt has also released the Galactic Cowboys Metal Blade years on vinyl for the first time ever – Machine Fish (2022) and the other three in 2024. All of them feature double gatefold layout, poly-lined sleeves with 2 LPs each. Hence, literally…

The Ranch That Matt (Hunt) Bought

Machine Fish

Significantly, this album, produced by the band’s own Alan Doss, represented not only new life for the Galactic Cowboys on Metal Blade but also featured the new guy – Wally Farkas – on guitar. And with the personnel change came the change in style/sound … sort of. Below are segments of a review from my archives when Machine Fish was originally released January 30, 1996.

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Retro Review

Here, a big change in style is evident without losing the key elements of success. The new guitarist, Wally Farkas, does add a more alternative buzz to the sound, which will immediately disturb old GC fans. I do not find this to be the case. While I miss the old sound, this disc stands on its own as excellent new material. Yes, there is a definite nod to the contemporary sounds of the 90’s, but the songs are still GC at the core. The heavy bass-driven riffs and harmonious vocals are still present in abundance. Every song on this album has a catchy hook and chorus, making this the most accessible release to date. 9.5

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CD Reissue

One of the main criticisms, from my standpoint, with Machine Fish was the overly treble-y loudness factor in the master. Although Monty’s bass guitar is prominent in the mix there is a harshness to the sound which is more noticeable when I go back and listen to the original all these years later. As a result, the remastered CD (not remixed) remains largely unchanged, although the triple gatefold wallet is lavishly adorned with lyrics/credits and artwork, housing both Machine Fish/Feel the Rage.

Vinyl Perks

However, the vinyl – by its nature – does offer a different listening experience with less harshness and the deeper tones more evident. Pressed on transparent deep blue vinyl, the monstrously heavy riffs come to full life as the record spins, and one reflects upon just how truly “metal” these highly emotional tunes are.

Additionally, one of the perks on the vinyl (not included on the CD reissue) is the 2022 commentary by Monty Colvin on the origin story of the album’s songs and how the band got signed to Metal Blade amidst their post Geffen demise. In that piece, Monty points out the wide array of emotions on display – fear, stress, anger, frustration, uncertainty and even hope. Of course, their omnipresent sense of humor (“Psychotic Companion,” “Pattin’ Yourself on the Back”) shines forth amidst all the darkness!

Emotional Fish

Ultimately, it was these emotions and their ability to connect with fans and other musicians alike which made Machine Fish such an embraceable collection of songs and honestly, they remain so to this day.

Machine Hits

The purpose of this review isn’t to discuss each song, but the first four tracks here are all brilliant – that one-two punch of “Feel the Rage” and “The Struggle” sets the tone of heaviness. I feel “Stress,” with those massive grooves, should follow as thematically it fits with the previous two songs. And then hit us with the ray of melodic bliss encouragement which is “Fear Not.”

Song order aside, other highlights include the witty “In This Life,” the balladic “Easy to Love,” the nostalgic “Red Sun,” the groove monster “Idle Minds,” and the more somber yet equally enthralling tracks “In a Lonely Room” and “9^th of June.”

Feel the Rage

Released October 8, 1996, in support of Machine Fish, the 6-song EP features the lead-off single and the only original song written by the band in “Paradigm Shift.” The two cover tracks “I Want You” (KISS) and “Junior’s Farm” (Wings) showcase a different side of the Galactic Cowboys while the two live tracks “Idle Minds” and “9^th of June” represent for me the highlights of the EP.

While the EP did little to eclipse or augment the monumental impression the band made with the release of Machine Fish, it went a long way in measuring the degree of support Brian Slagel had for his beloved Galactic Cowboys.

CD Reissue/Vinyl

The reissue of the EP is contained within the same CD wallet as Machine Fish, labeled as Disc Two, and does contain all 6 of the 1996 tracks. However, the “bonus” bluegrass song has now been separated into its own track entitled, “Grandmother’s Coffin.”

Similarly, this track is separated out on the vinyl rendition which features “Paradigm Shift” as the last song on Side C of the Machine Fish 2 LP set, and the rest of the EP on Side D. For obvious reasons, “Feel the Rage” is not included a second time and maintains its proper place as the opening track on Side A.

CD

Disc One – Machine Fish

1. Feel the Rage (3:13)

2. The Struggle (5:54)

3. Fear Not (5:03)

4. Stress (4:35)

5. Psychotic Companion (7:31)

6. In This Life (3:14)

7. Easy to Love (4:08)

8. Red Sun (4:59)

9. Idle Minds (4:11)

10. The Lens (5:24)

11. Pattin’ Yourself on the Back (3:45)

12. In a Lonely Room (4:45)

13. 9^th of June (5:23)

14. Arrow (6:56)

Disc Two – Feel the Rage

1. Feel the Rage (3:13)

2. Paradigm Shift (7:28)

3. I Want You (4:11)

4. Junior’s Farm (5:14)

5. Idle Minds (Live) (4:28)

6. 9^th of June (Live) (6:15)

7. Grandmother’s Coffin (0:45)

Vinyl

Side A

1. Feel the Rage (3:13)

2. The Struggle (5:54)

3. Fear Not (5:03)

5. Psychotic Companion (7:31)

Side B

1. In This Life (3:14)

2. Easy to Love (4:08)

3. Red Sun (4:59)

4. Idle Minds (4:11)

5. The Lens (5:24)

6. Pattin’ Yourself on the Back (3:45)

Side C

1. In a Lonely Room (4:45)

2. 9^th of June (5:23)

3. Arrow (6:56)

4. Paradigm Shift (7:28)

Side D

1. I Want You (4:11)

2. Junior’s Farm (5:14)

3. Idle Minds (Live) (4:28)

4. 9^th of June (Live) (6:15)

5. Grandmother’s Coffin (0:45)

The Horse That Bud Bought

Released July 15, 1997, this collection of songs represents perhaps the most alternative-influenced and certainly, most pop/commercial Galactic Cowboys album. Co-produced and engineered by Alan Doss and Brian Garcia (R.I.P.), the album serves as an “alternative” to the aggressive and darker Machine Fish. In antithesis to all that heaviness, THTBB finds the band in lighter, happier pastures with a plethora of melodies for fan fodder.

Garcia Legacy

I would be remiss at this point if I didn’t call out Brian Garcia’s contributions to the world of music. Early in his career the Houston native worked on albums by 20/20 Blind, Precious Death, Resurrection Band, King’s X and of course that iconic GC – Space in Your Face release. Additionally, he worked on all three Metal Blade releases after Machine Fish.

Later in his career, during the early 2000’s, Garcia moved on from hard music endeavors to the pop world working on releases by Kelly Clarkson, Avril Lavigne and even Miranda Cosgrove. He died in 2021 from complications of COVID-19 infection.

CD Reissue

The CD version is once again laid-out in triple gatefold CD wallet fashion with original artwork and clean, easily legible lyrics and credits on the wallet folds. The “Evil Twin” art on the disc itself (pictured above) was originally on the rear tray insert of the Metal Blade issue. Similarly, the vinyl labels showcase Colvin’s artwork (pictured below).

Lunar Orange Vinyl

Once again, I prefer the lower mastering volume on the vinyl to the CD’s harsher loudness. Galactic Cowboys have always had the bass guitar up in the mix, but on these vinyl renderings the low-end warmth shines forth. Literally, it’s like listening to music from a whole new perspective. Short of remixing the albums, getting these releases on vinyl format was essential for fans who want to fully appreciate the quality of the original mixing and recording sessions which, in my opinion, were sold short by digital only releases at the time.

Bud’s Endearing Stable

Undoubtedly, THTBB is a grower, and I don’t hesitate to opine that these songs sound better in 2024 than I remember in 1997. While that had much to do, no doubt, with expectations coming off the Machine Fish release and the general malaise and differentness of metal in the mid to late ‘90’s (nothing felt comfortable or familiar), I have come to better appreciate these songs thanks to the Brutal Planet CD reissue and vinyl media.

While not the angry/care-free stepchild which is Let It Go (more to follow), The Horse That Bud Bought, being bookended by the enigmatic brilliance of Machine Fish and At the End of the Day, risked becoming a forgotten entity. Thankfully, the collaboration of co-writing genius was swinging hard for the fence, especially now with this being Farkas’ second round with the boys.

Bud’s Laments

Consequently, songs like “Bound” – which recaptures that innocence and wonder – are juxtaposed with the punkish aggression of “Media Slant” where “worldly wisdom” baffles the mind of the pragmatist. While never a fan of the opening track, the five-song sequence which follows represents sheer brilliance – the iconic and cynical “Tomorrow” remains one of the most underrated songs in the GC stable.

And who can reject the beauty and genius of Colvin’s “Mona Lisa” which ripples with magic and passion with its triumphant call to “turn on the brights” of the imagination. Contrast that with the witty cynicism in the heavy “I Can’t Wait.” Similarly, “Trip on Love” – sort of reminiscent of “Easy to Love” from Machine Fish – is another underrated gem with much to say in melodic “Speak to Me”-ese. That sentiment is echoed in the final two tracks, “You’ve Changed” and the profound “My Life” where…

“Everything I do hurts someone/My life/Acting more on impulse of pain/Spinning on a perilous plane/With a world I confuse, I hurt and abuse/Worry, then excuse, in the end I confuse”

…and that’s the end of the horse’s tale.

CD

1. Tilt-A-Whirl (3:22)

2. Evil Twin (3:07)

3. Oregon (4:30)

4. The Buzz (1:26)

5. Tomorrow (4:48)

6. Ribbon (5:03)

7. Breakthrough (3:38)

8. Bound (4:35)

9. Media Slant (3:10)

10. Mona Lisa (6:08)

11. I Can’t Wait (3:26)

12. Trip On Love (4:04)

13. You’ve Changed (3:43)

14. My Life (6:00)

Vinyl

Side A

1. Tilt-A-Whirl (3:22)

2. Evil Twin (3:07)

3. Oregon (4:30)

Side B

1. The Buzz (1:26)

2. Tomorrow (4:48)

3. Ribbon (5:03)

4. Breakthrough (3:38)

Side C

1. Bound (4:35)

2. Media Slant (3:10)

3. Mona Lisa (6:08)

4. I Can’t Wait (3:26)

Side D

1. Trip On Love (4:04)

2. You’ve Changed (3:43)

3. My Life (6:00)

At the End of the Day

Released September 22, 1998, this album has special meaning for me. I confess, like other fans, I was not initially thrilled with the musical direction of The Horse That Bud Bought. So, for one, the return to form, so to speak, brought a wave of relief. Two, this album was originally released simultaneously with my arrival in Bosnia with my unit 1-8 CAV, 1^st Cavalry Division out of Fort Hood, TX, in support of Operation Joint Forge. [We were part of a larger multi-national/UN chartered peacekeeping force – SFOR (Stabilization Force)]

A Day in the Army with a Medic … and a Discman?

My unit was stationed at Camp McGovern, near Brod and Brcko, Bosnia and Herzegovina, a more remote location for SFOR troops in what was then called the ZOS (Zone of Separation) between Serbia and Bosnia and Croatia. I was serving as the Battalion Surgeon for our unit, operating out of a small, fixed facility Aid Station (pictured) located on our camp/outpost.

Not surprisingly, we didn’t have a lot of creature comforts as would be expected, but in addition to the small PX (Post Exchange) located on our base we were able to receive care packs from the States. Since CDs were still all the rage at the time, our PX did sell some of the more popular labels at the “Powerzone” part of the store (pictured). And yes, I did have a portable CD player (Sony Discman) at the time (pictured) and yes, I still own it … and yes, it still works!

While I did have the new (at the time) Galactic Cowboys release sent from home, along with Veni Domine’s Spiritual Wasteland, I was able to purchase King’s X Tapehead (released in October of 1998) at the “Powerzone!” These three releases became a staple for my support during the subsequent six months of deployment.

Hurry Up and Write

Consequently, as many who have served in the military know, despite the stress and danger, there is a good amount of “downtime.” Sometimes the boredom can become your worst enemy until you next “hurry up and wait.” Hence, I wrote, among other things, music reviews of all three of those albums while I was deployed.

What follows is my original, previously unpublished, review of At the End of the Day, hand-written at the time/transcribed to digital later, while stationed at Camp McGovern, Bosnia in 1998.

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Retro Review

This band just never ceases to amaze me with their original and unique style. Having moved from the heavy and artistic songs on their debut album to the more alternative and pop sounds on The Horse that Bud Bought, this progressive band continues to progress.

Style

What is most refreshing about this album is the reappearance of old ideas and themes. For example, the blues harp in the opening track reminds me of its use on the debut album. The cover artwork nicely bridges the band’s past with its present. In addition to the reappearance of the “space cowboy” on the front cover, the band photo on the rear tray insert is reminiscent of Space in Your Face. And who would have expected a sequel to “Ranch on Mars”? 

While the less heavy and more commercial sound the band now uses might discourage the older fan, there is still a hard, bass-driven, drum-pounding crunch to most of these tunes. Perhaps the most diverse collection of songs from this band to date, there is a great deal to hear as this disc clocks in at over 65 minutes.

Songs

Surprisingly, the opening track, “Nothing to Say” is one of the heaviest tunes here and features the legendary monster riff with the blues harp solo over the top. “Ants” is a clever song with a very humbling message delivered in a nice pop vibe. Imagine the Beatles in the 90’s and you have a grasp on the vocal style here. “Just Like Me” juxtaposes nice acoustical intros and outros with big, fat bass-driven riffs and demonstrates this band’s talent in creating innovative sounds. Like so many of this band’s lyrics, the words to this song are simple, yet very profound. This band has a knack for hitting the heart of an issue.

Subsequently, the “Machine Fish Suite” is an ambitious multi-part song which details the band’s victimized career in a cynical and not-so edifying manner. The music is cool and the songs flow nicely from one to the other, giving the song an almost live feel. “Ranch on Mars Part 2,” with its Hendrix-style guitar lead, is a dreamy-sounding ballad that tells a sad story of broken dreams. There is an awesome guitar solo at the end of the song, something we don’t often hear from Wally Farkas. Hopefully, with this “suite” the band will leave its bitter past to move on to a “bright” future.

Contrastingly, “Young Man’s Dream” is a cool song with a quirky vibe like one might find in a song like “Mrs. Leslie.” “Shine” is a remarkable, pop-oriented song about youth. I can really relate to the lyrics and the chorus will make you sing along. “It’s Not Over” is a heavy song, akin to what you might find on the new King’s X album (Tapehead).

Summary

The artwork here represents the best of the Galactic Cowboys, and the lyric book is laid out in an attractive and logical fashion. Much more diverse than any other release, this one won’t have the immediate appeal of Machine Fish but this may be a better album. The boys have once again cranked out a masterpiece and this is just what you need “at the end of the day!” 9.75

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[Looking back at not only the physical environment in which I wrote this review, let alone my mindset at the time, I think my descriptive nicely captured the essence of At the End of the Day.]

CD Reissue

The remaster is brighter sounding compared to the original, more vibrant. The vocals seem to gain the most from the augmented treble range, and there is just a bit more definition in the higher frequencies which seemed a bit suppressed on the original. The bass on the original was good, and so that has been preserved with maybe a slight boost. Overall, the aural spaciousness has been expanded so while some may prefer the original, this new version offers a different listening experience.

Additionally, one positive aspect of the CD wallet layout, in addition to their more ecofriendly, compact nature, is the lyric layout. The words are more accessible and easier to read, akin to reading the lyrics on a gatefold vinyl jacket’s inner panel.

Solar Red Vinyl

Similarly, for those who love the vinyl media, this rendition offers yet another listening perspective. Mastered for vinyl at a much lower volume, this version features the most bass warmth over the original and the digital remaster.

In that regard, at least on my sound system, the vinyl feels the most live-like acoustically and certainly suffers the least amount of listener fatigue at high volumes. From another viewpoint, it delivers the best balance of a full-frequency spectrum sound with the powerful, live-like bass push. Colvin’s bass guitar rules!

CD

1. Nothing to Say (4:36)

2. Ants (4:05)

3. Just Like Me (4:28)

Machine Fish Suite

4. Where Do I Sign? (2:49)

5. Bright Horizons (1:23)

6. Puppet Show (5:12)

7. Mr. Magnet (2:59)

8. Never Understand (4:18)

9. Ranch on Mars Part 2 (Set Me Free) (4:19)

10. How Does It Feel? (3:32)

11. Young Man’s Dream (4:42)

12. Shine (4:09)

13. The Shape (3:46)

14. It’s Not Over (4:49)

15. Through (7:20)

16. At the End of the Day(3:08)

Vinyl

Side A

1. Nothing to Say (4:36)

2. Ants (4:05)

3. Just Like Me (4:28)

Side B

Machine Fish Suite

1. Where Do I Sign? (2:49)

2. Bright Horizons (1:23)

3. Puppet Show (5:12)

4. Mr. Magnet (2:59)

5. Never Understand (4:18)

Side C

1. Ranch on Mars Part 2 (Set Me Free) (4:19)

2. How Does It Feel? (3:32)

3. Young Man’s Dream (4:42)

4. Shine (4:09)

5. The Shape (3:46)

Side D

1. It’s Not Over (4:49)

2. Through (7:20)

3. At the End (3:08)

Let It Go

Released on June 20, 2000, Let It Go was at the time, and remains, a bit of a paradox in the Galactic Cowboys vaunted career. The proverbial “stepchild” in the band’s stable, the album perplexed long-devoted fans and critics alike. Observationally, there are multiple paradoxical layers to this band’s, at the time, unsettlingly enchanting swan song.

After the penultimate climax of songwriting and execution brilliance which comprised At the End of the Day, Let It Go felt like both an emotional release – a moment of relief in realizing what the band had accomplished – which simultaneously equated to a release from the expectations of fans and critics to create something riveting and groundbreaking.

Consequently, Let It Go was clearly a “throw away the rules and expectations” kind of album. The support they enjoyed from both their fans and from their label at the time allowed them the artistic freedom to literally and figuratively, “let it go.”

Paradox City

Undoubtedly, because of this state of mind, the ever-cynical Galactic Cowboys took their sense of humor to the extreme with superfluous antics. Paradoxically however, mired amidst the effects, distortion and noisemaking there are some incredibly brilliant songs here.

Additionally, despite the disjointed vision and chaos, there is a diversity of styles and singers present which surpasses anything the band has previously attempted.

Grace Over Pressure

Interestingly, except for the blistering “Disney’s Spinnin’” which circles in Machine Fish waters, the crunchy and heavy tunes have been eclipsed by the lighter fare. This time around, the more pop-oriented songs carry the day.

The acoustic guitar driven Colvin penned and sung “A Different Way” gives a rare glimpse into the “peculiar soul” and faith of our protagonist. The Farkas-lead Beatles-like “Life and Times” is similarly transparent and vulnerable.

Contrastingly, the trippy Huggins crafted and sung “hey mr.” showcases yet a third lead voice as well as the music diversity inherent to Let It Go’s catharsis. This in tandem with the beautiful acoustic Colvin-lead “Another Hill” which is a simply awe-inspiring observation of the interplay between struggle and devotion.

After the insanity of tribal thrash shred called “Boom!” things shift so effortlessly into the “Ordinary” with its insanely profound and simplistic message, “Life’s not difficult, its ordinary … Life’s not futile, its just ordinary/ If love is free and substitutionary/pain is bearable and momentary.”

While the remainder of the album devolves into something best labeled “experimental” the impact of those first 30 minutes or so is substantial and memorable. To say that the record didn’t end the way we expected or desired is an understatement. At the time, we didn’t know what we now fortunately know, so the moral of the story is: when all seems lost, there’s always hope in life on Mars.

Dream Team Sound

Paradoxically, despite themselves, Let It Go has an aural lushness and sound mix which is superb, this largely due to the cadre of help employed in the production process.

Wally Farkas is credited as producer, but Brian Garcia engineered the drums and bass, his growing experience at the time into pop music evident in enhancing the power and punch of the low-end elements. While Alan Doss is credited with the mix, some of those amazing sounds are courtesy of Wally Farkas and Ty Tabor. The original disc was mastered by Bob Boyd.

CD Reissue

Remastered by Rob Colwell, as has been all the material reviewed here, the already bold and punchy soundscape breathes out just a bit more massiveness. When the sound becomes as outrageous as the lyrical content you know you’ve got something going on.

Galactic Green Vinyl

Abandoning the “frown-face” original cover for the “tongue-out” frivolous cover was a stroke of genius. While the art/image isn’t technically “new” – present on the original release rear tray – it’s wonderful to see the defiant grin grace the big 12×12 jacket cover.

As with the other vinyl renderings in this collection, the master volume is substantially lower than the digital reissue, but the warm hues of melodic dreaminess present a wonderful alternative listening experience. Likewise, the obnoxious neon “galactic” green vinyl color is fitting for the stepchild’s petulant swimming in December.

CD

1. Introduction (1:13)

2. T.I.M. (3:34)

3. A Different Way (3:32)

4. Life and Times (4:33)

5. Flag (3:15)

6. Disney’s Spinnin’ (4:35)

7. hey mr. (5:51)

8. Another Hill (4:49)

9. Dirty Hands (3:31)

10. Boom! (1:20)

11. ordinary (2:52)

12. Internalize (2:43)

13. Swimming in December (10:28)

14. Song for Sybo (2:51)

15. future (3:32)

16. Bucket of Chicken (2:42)

17. The Record Ends (12:34)

Vinyl

Side A

1. Introduction (1:13)

2. T.I.M. (3:34)

3. A Different Way (3:32)

4. Life and Times (4:33)

5. Flag (3:15)

Side B

1. Disney’s Spinnin’ (4:35)

2. hey mr. (5:51)

3. Another Hill (4:49)

4. Dirty Hands (3:31)

5. Boom! (1:20)

6. ordinary (2:52)

Side C

1. Internalize (2:43)

2. Swimming in December (10:28)

3. Song for Sybo (2:51)

4. future (3:32)

Side D

1. Bucket of Chicken (2:42)

2. The Record Ends (12:34)

At the End of the Day … On a Ranch on Mars … It’s Not Over

Of the many cynical yet deeply truthful words the Galactic Cowboys have branded upon the hide of their music over the decades, one song has deeply resonated with everything they’ve endured and everything they hope for and everything they believe…

“Life just threw a left hook at my chin/and knocked me down/Tried to get back up/but sorrow pushed me to the ground/But I say…

It’s not over

Fear would rise and crystallize/and force me to my knees/Lack of faith and Hell awaits/would be my destiny/But I say…

It’s not over

Never give up Never give up Never give…

One more bout to go/In the last round of this fight/And I’m up against the ropes/And it looks like there’s no hope/But I say…

It’s not over”

Brutal Planet (Matt Hunt and company) is to be thanked and congratulated for bringing all this great music back into circulation with such care and detail. Suffice it to say, there is enough “new” in the “Bud Box” from a presentation and sound enhancement standpoint, and the “first time on vinyl” releases take the music of the Galactic Cowboys to an entirely new listening level!

Like a good friend, the music of the Cowboys hangs around, points out your enemy, shares your frustrations, makes you laugh, helps you navigate the landmines in your path and always stands fearlessly by your side with plenty of aggression and passion.

And though I feel so far from home/I know I’ll never be alone … and I’m not gonna be afraid … Fear not

Brutal Planet Records

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Ranking Cowboys

1. Space in Your Face (1993) – It’s a tough toss-up between the Geffen releases as to a favorite, as they are both brilliant, but Space had a tougher metal edge with a bit more directness. 10

2. Galactic Cowboys (1991) – Equally iconic, the self-titled set the standard of creative uniqueness and melodic/harmonic bliss circa early ‘90s metal. 10

3. At the End of the Day (1998) – This opus represents the culmination of the Metal Blade years progression of sounds and songwriting, the epic concept “suite” juxtaposed with killer hit singles. 9.75

4. Machine Fish/Feel the Rage (1996) – Metal Blade’s investment risk paid off bigtime. 9.5

5. Long Way Back to The Moon (2017) – an incredible comeback album from the four original members with just the right amount of nostalgia to connect the arc with the debut while simultaneously delivering fresh sounds and ideas. 9.25

6. The Horse That Bud Bought (1997) – A move in a different direction, the return of Garcia, less metal and more pop, still Cowboy to the heart … these songs have matured well, better now than in 1997? 9

7. Let it Go (2000) – Even this band’s least impactful release had something to say, and the stellar sound production, the diversity of songs gifted fans with a worthy swan song (at the time). 8.75

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