Gryphon - Get Out of My Father's Car.

The Spirit of the Bonzo Dog Do Dah Band Lives On...and others


Get Out of My Father's Car

After a furious intro, we settle into a wild zany piece which puts me in mind of Zappa's 'Mothers of Invention.' It's the wind instruments, in particular, that echo those offbeat sounds and shapes. But every so often the wistful elegance of Brian's Horning or is that Crumming emerge. 

However, its the madcap vocal which takes me back to those Mothers Albums of the late '60s. Great Fun.

A Bit of Music By Me

Is entirely different a beautiful piece of flute playing leads into some very musical acoustic guitar and lovely sympathetic shuffling drums. This is where the Bonzo Dog influence comes in one minute a piece is mad, offbeat with tons of unorthodoxy and the next minute respectful beautiful.  As it moves on there is a little of that furious third album contrapuntal play but it is juxtaposed with humour and more bubbling from Brian. What always strikes me about Gryphon is there is so music in what they do and we finish with a real 'Lark Ascending' feel, exquisitely beautiful dense interesting music.

Percy the Defective Perspective Detective

This is classic Gryphon Riffing, punctuating with gone in the blink of eye aires. That Mother's feel returns with the staccato wind playing. 

Christina's Song    

This could almost be a 'Fairport' intro plaintive flute and violin. When the vocal from Clare comes in it reminds me of Simon Nicols folk voice of 1971 vaguely nasally. Charming 'old sounding.' The piece picks up the pace with a few minutes of piano riffing before falling away with some atypical flute. 

Suite For '68

Vaudeville, this really is in Viv Stanshall territory for me. Full of humour and curiosities. I could imagine this as a soundtrack for a silent movie. Once again it shows that special quality of Gryphon the ability to mix the unorthodox with straightforward charm as the melody is played out on an exotic wind before those rapid-fire staccato elements return. Some lovely organ stabs as it winds its way along to a conclusion which still manages to surprise.

The Brief History of A Bassoon

Brian's amusing whimsical vocal style dominates. Constantly making fun of styles, accents. The central message it offers is offbeat humorous.   

Forth Sahara 

Unsurprisingly we move to an entirely different mood elegiac gorgeous violin playing, other forces join in respectful more linear rather than the jumpy juxtaposition of the 'other' style of the project. If some of the work is offbeat zany this is beautiful in a more traditional way and by contrast, it shows up more easily. Toward the end, new accents, musical interruptions but the traditional approach dominates to the end.      

Krum Dancing

Fast-paced contrapuntal work then those classic Elizabethan accents and references (early G). I could imagine this as part of the soundtrack of "Shakespeare In Love." Everyone is playing the tune the wind (delightful). Up next I am reminded of Jethro Tull circa"Benefit" era. The intro is a dark moody bass line and more traditional playing and finally a fanfare some ROCK guitar followed by duelling. 

A Stranger Kiss. 

Another mood change, communicating plaintive regret. Everyone quiet respectful and then Clare enters. I love her vocal on this and it's a beautiful tune. This highlights Gryphon's ability to give a fabulous tune the 'G' treatment in a highly sympathetic way. 

Norman Wisdom from the Swamp

Off we go with a rolling tin pan alley piano introduction but then it begins to surprise in its seriousness as if the arranger has put the humour on a leash always rolling it back in. Lovely soundscapes emerge before the vocal narrative emerges which itself is a revelation a kind of communal call and response across at least three singers and after that, we play out with the musical ideas of the fast-paced intro, a hilarious famous quote and then we are done.

A Parting Shot

A beautiful ending a gorgeous heartfelt vocal with superb accompaniment. The vocal by Dave Oberle reminds me of Peggy in Fairport. The instrumental interludes completely on point. I am sure I heard Dave sing at the Stables in 2019 and somehow this piece has an air of familiarity to it, whatever it is a profoundly moving and satisfying end to a project that continues to see Gryphon growing, changing and evolving. 

 

Most bands would not dare to move around styles idioms and approaches as much as Gryphon for fear of losing a part of their audience for part of the time. But this project which is more disparate and focused (if that's possible) reminds me if we put humour next to beauty, the linear progression against the staccato, the irreverent with the very serious all win out.  


 

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