Published on Nov 4, 1998
If you have never heard of Gryphon, the music of Camel overlaps
some of the territory Gryphon covers, should you need a point of
reference from a slightly better-known group.
Raindance was Gryphon’s fourth album, released after a
triumphant tour of the United States in 1974, in which they opened
for Yes during the
Relayer Tour that year. The success and critical acclaim of
Gryphon’s third release,
Red Queen To Gryphon Three, created a platform for the band
to expand their horizons and led to the lucrative 1974 tour.
Raindance represents just such an expansion, but many
“purists” will claim it is an inferior album – it compromises the
progressive credentials they band had established up until then.
It’s the old problem though – to please a wider audience, you
sometimes need to alienate an audience you already have.
Au contraire, I say, or I would if I were French. There are many
good ideas and some exceptional music to be heard here. Gryphon’s
Trad Folk roots, the traditional (and archaic) wind instruments,
and the progressive direction commenced with
Midnight Mushrumps (the second album) are all much in
evidence, but these sounds and styles are fused and imbued with
rock and pop themes that lead to an interesting, if sometimes
uneven, listen.
For me, the strongest tracks on the album are penned by Richard
Harvey, the nucleus of the band. His versatility with a bewildering
array of musical instruments both modern and ancient is matched by
his compositional skills. The album kicks off with one of his, a
tightly plotted instrumental called “Down The Dog”. I first heard
this track in 1975, and only caught up with it again this year –
but I remember it like it was yesterday. The mix of synth and
bassoon is distinctive and effective, the beat and rhythm
completely arresting. My only serious complaint is the song could
have been developed further – it could stand to be twice as long, I
don’t really want it to end.
Another Harvey track follows, “Raindance”. An atmospheric piece
which builds upon itself to a very satisfying resolution. Various
synths overlaid over a repeating motif, the music suggests that
special stillness before a rain shower, complete with sound
effects. A soothing experience, and somehow evocative of the effect
that some Camel songs have on me.
A Lennon/McCartney cover features next, “Mother Nature’s Son”.
This gives me opportunity to ask, “Why did many progressive bands
of the late sixties and early seventies feel it was necessary to
tug their forelock in that direction?”. Was it some sort of
obligation, an acknowledgement of one’s roots or the result of an
inferiority complex? I may never know. The track itself is well
orchestrated, and breaks the ice a little, as far as vocal input is
concerned.
Things get a little quirky next, with “Le Cambrioleur Est Dans
Le Mouchoir”. A total change of pace, and not without a certain
charm, I don’t begrudge the band taking time out to have a little
fun for itself. Hard on its heels is “Ormolu” (another Harvey
tune), which as its name suggests is full of clockwork imagery,
chimes and tick-tock movement. Briefly diverting (in that it is a
short track).
We resume the normal programme with “Fontinental Version”. A
multi-faceted piece, interwoven with several varied themes reprised
throughout. Parts are pure progressive, reminiscent of “Caravan” to
my ears, but with frequent halts for jokey, over-the-top,
shiver-me-timbers folk-like theatrics. The track is made uneven as
a result, but with some passages that threaten to carry you away if
only the band had kept it up longer.
Harvey is allowed another outing with “Wallbanger” – a
pocket-sized guide to the striations of musical styles running
through it the whole album. Rock intro segues to classical, thence
to progressive and then back to rock. A rather pop-oriented song
follows by the name of “Don’t Say Go”. I am reminded of the Camel
album
I Can See Your House From Here when listening to this track.
Not too challenging, but a pleasant enough song.
The album closes with a longish piece by Harvey, “(Ein Klein)
Heldenleben”. A rare electric guitar lead graces this track towards
the end, but this only serves to highlight the overall
inconsistency of meandering content and style. Many listenings have
still left me with no strong feelings for this track, other than
the thought, “Noodles”. This track “noodles”. I get the impression
that there is no real direction or cohesion to be found here, only
short passages that hold the interest, followed by sections
seemingly unrelated to the whole. I admit that more work may be
required on my part, but in my defence, I will say that I am quite
used to, and not at all adverse to, longer tracks, so I don’t think
it’s an “attention span” thing. Could be the track simply fails in
its intent.
On balance, an uneven effort, but one with much immediate appeal
and still with a good deal to reward repeated listenings.