GRYPHON

The actual album consists of twelve songs, with each of the songs being a couple of minutes long. I feel like this is one of the main cons because it felt like this restrained the band from truly branching out and adding more to each song. When the songs do have room to breathe, it's a nice tune that I can enjoy. The storytelling on the tracks is also pretty interesting, as when a band has a sound as unique as Gryphon, it should come as no surprise that they pour tales from the Renaissance and medieval times into the lyrics. Some of the best examples of this include Kemp's Jig, Sir Gavin Grimbold, Three Jolly Butchers, and The Devil and the Farmer's Wife. However, my favorite song on the album is The Unquiet Grave. The way it sets the tone of a funeral, and yet at moments it keeps a jolly sound to stay true to the original theme of the album. Some sections sound as if they were a sea shanty from the eighteenth century while at the same time having an atmosphere similar to the Dark Ages. The lyrics are also above average for the album's standards, and in the end, the nearly six minutes of run time make for an overall great song. All the songs, though, have their own distinct moments, and you could practically just put the album on shuffle and find an ok track. Sure, they're far from perfect, but they're just relaxing songs for the most part. 

In conclusion, this album is pretty much skippable for most progressive rock and folk enjoyers. It's a good addition to the band's discography, but in the grand scheme of things, this is far from essential in the genre. This album is mainly fit for a very specific audience and perhaps even some adventurous listeners. Perhaps a 3/5 is the best fit for this record, and if the band were a bit bolder in the direction they would've taken their music instead of sticking to a more traditional and conventional form of folk, with the added tweaks of progressive and medieval styles.

Brian Gulland (bassoon, soprano sax, recorders, bass crumhorn, melodica, keyboards, vocals), Dave Oberlé (drums, percussion, vocals) and Graeme Taylor (acoustic & electric guitars, vocals) were there right from the beginning in 1972, and these days they are joined by Andy Findon (flute, piccolo, soprano crumhorn, soprano saxophone, clarinet, sweetheart fife), Rob Levy (bass guitars) and Clare Taylor (violin, keyboards, vocals). It is difficult to pick fault with the setlist, as they go all the way back to the debut album as well as including tracks from their two comeback albums, 'Reinvention' and 'Get Out of my Father's Car!'. Their musical dexterity and togetherness only come from countless hours of practice and rehearsal, and they are as happy providing trad arr. numbers as they are with their own material, mixing and weaving their musical threads to create music, which is simply beautiful, delicate and quite unique. They take us on sonorous journeys which feel like madrigals as well as a wonderful sense of humour, with "The Brief History of a Bassoon" having some of the lowest pure vocal bass one will ever come across.

I already know this is an album to which I will often be returning, as for fans of the band it is simply essential, and for those yet to come across them then this is the perfect introduction. Their musical approach, dexterity and skill is second to none, and while they may never again gain the kudos and wider acclaim they did back in the day, take it from me that this album is an absolute delight and full of joy. I only wish I had been able to see them play, as I am sure they are never going to make it to New Zealand, so I will just keep playing this instead. If you ever wondered what medieval prog sounds like this then give this a whirl, while they themselves describe "Estampie" as 13th Century Slade!

'Gryphon'. A superb debut album from a folk band that would eventually settle into prog territory. This record is just a collection of fun, relaxing neo-medieval folk ditties, ranging from simplistic and facile to complex and layered. This album I used to ignore (when I first discovered it I was more interested in 'Red Queen to Gryphon Three' and 'Raindance'), but I quickly realized (and by that I mean just a few listens) that that was unfair on my part and I should have put my prog necessities on hold. And this album is not prog. It is kind of experimental, definitely complicated, but not prog. Yet it is still great. The record starts with 'Kemp's Jig', an instrumental track that shows you everything that is to come in the rest of the album: the great percussion, bassoon, crumhorns, harpsichord, and so much more. Three of the best minutes in Gryphon's entire existence. 'Sir Gavin Grimbold', an acoustic medieval ballad about a young man who left home and will never come back. One of the best songs on this album. 'Touch and Go' is my favorite Gryphon song of all time. It is only a minute and a half long, but I find it so beautiful that the length doesn't matter. 'Three Jolly Butchers' just sounds like an older Irish bar jingle. The vocals are not trying to be great, they are there, apparent, fun, and honestly very cool. These oddities are the things that make Gryphon Gryphon. Two minutes in, the melody makes an interesting, dark transition that returns to the original melody after a minute. 'Pastime with Good Company' is basically a two-minute recorder solo. It is very fun. 'The Unquiet Grave', the most serious song on this album, is another medieval ballad about a widower whose wife rose from the dead after the man's oddly specific request of desert-water, stone-blood, and breast-milk. This is the most progressive song on the album. A bassoon solo interlude adds to this factor. Maybe second to 'Touch and Go' in a ranking of this album's tracks. 'Estampie' is a nice little medieval instrumental, much like 'Kemp's Jig'. There is some very nice percussion and woodwinds here. Close to the end the flute explodes. Truly very fun. 'Crossing the Styles' is a beautiful acoustic guitar piece. Graeme Taylor really shows off his talents on this one. 'The Astrologer' is another vocal track about (guess what?) an astrologer who could tell the fortunes of young women. A fun little track, and one of the best ones on this album. 'Tea Wrecks' is too short to say much about, but it's pretty good. One minute of bassoon's alright with me. 'Juniper Suite' is one of the most progressive tracks on the album, with fast- paced acoustic guitar plucks and layered woodwind sections. A great song. The closing track, 'The Devil and the Farmer's Wife'. There are some great lyrics here. One of my absolute favorite Gryphon songs. Anyways, while not entirely progressive, 'Gryphon' is an excellent album to any prog music collection. Prog (folk) on.

Collecting records over 45 years I've got nearly a full discography of such an artists as: Led Zeppelin, Genesis, Yes, King Crimson, ELP, Van Der Graaf Generator, Todd Rundgren, Frank Zasppa, Gentle Giant, Gong and a lot more of prog-art and jazz rock fusion. Looking for something by Gryphon and finally got this double CD by Esoteric Recording. A very nice edition - perfectly remastered with detailed and dynamic soundstage. Liner notes include the reproduction of the original album covers and complete information about the personalities and the places where these four albums (based on the majority of reviews Gryphon, Midnight Mushrooms, Red Queen To Gryphon Three and Raindance were undoubtedly the peak of the band's activity) were recorded. Despite the ommited Dubbel Dutch from Midnight Mushrooms you can get a compact collection of Gryphon heritage. When you have a problem where to find a place for another item in your collection, 4 in 1 from a great artist well packaged and deigned with good sound quality is a reasonable choice for you.

That said, Dubbel Dutch is probably the least inspired tune on that album - the title track and Ethelion, in particular, absolutely blow it out of the water - so I'd say it's actually improved by that one omission. Certainly, it feels like this set contains everything which was truly essential in these first four albums, though admittedly I may be out of step since I think Midnight Mushrumps is the weakest of the four (it sags a bit in the middle, hence the removal of Dubbel Dutch being helpful), which doesn't seem to be the consensus.

Still, unless Esoteric fancy doing one of those nice clamshell sets they do with the albums in individual cardboard sleeves for Gryphon (perhaps throwing in 1977's Treason, the major release of their original run that this is missing), this will do nicely.

As with Midnight Mushrumps, it's the long track here which is the standout piece; (Ein Klein) Heldenleben is also the place where those medieval folk elements make themselves felt the most, being as it is a journey through every dimension of the band's sound. The album is perhaps a little overlooked compared to Red Queen To Gryphon Three - where Gryphon's blend of prog and medieval folk perhaps found its perfect balance point - but it doesn't deserve that, because it's a perfectly pleasant progressive rock album, albeit not one which progheads will find staggeringly original (though give Heldenleben a good listen and you may pick up on things you miss on a superficial hearing).

"Opening Move" opens the album (quite obviously) with a spectacular riff that is built upon throughout the song with different variations from piano to bassoon. The song picks up at around the 3:00 minute mark, with a great distorted guitar hook, with a timpani build-up, that leads into a total medieval jig section.

"Second Spasm" is an awesome tune. It opens with a recorder/guitar lick that leads into by far the most aggressive part of the album. The crumhorn section is the most notorious part of the song and always puts a massive smile on my face whenever I hear it. It is very Gentle Giant-esque. I'd have to say that this one beats "Opening Move" by just a little bit.

"Lament" is my favorite song off the album. What an absolutely beautiful song it is. Filled with classical guitar, recorder, and magnificent bassoon work from folk-rock legend, Brian Gulland, the song is a 10-minute epic. Halfway through the song it takes a completely different direction with a faster-paced tempo. Of course, it being Gryphon, every 30 seconds they switch from a speedy interlude to a folk lick that sounds like the theme of a renaissance fair.

"Checkmate" is the closer of the album and a superb one at that. With a rambunctious opening riff that flows through many ideas and time signatures until arriving on a flute solo over a medieval drum roll. The song comes to a riff that resembles that of "Second Spasm" dominated by flute and bass, which transitions into a melodic section with piano and crumhorn. As with a few tracks on albums such as ELP's debut, it features wonderful musicianship but can feel a bit structureless at times. Nevertheless, I still enjoy this track greatly.

My only takeaway from this album is that the songs can often get lost in wandering instrumentalism. I would say this is a 4.5-star album but I'll round it down to 4 stars. This is Gryphon's best work by leagues and I love the format of 4 long tracks comprising an album. Highly recomended to fans of Rennaisance and Gentle Giant.