Author: Peter Podbrežnik
Artist: Gryphon
Label: Transatlantic Records
Release: 1974
Running time: 38:32
Rating: 5/5
»Red Queen to Gryphon Three« was the third studio outing from British folk prog rock minstrels Gryphon, and the high point of their short but glorious career. Multi-instrumentalist Richard Harvey and all-round woodwind man Brian Gulland, together with the rest of the crew, set out to create a concept album that tells the story of a game of chess through varied, often wildly rich and lavish medieval-Renaissance-Baroque arrangements, as you can tell from the title and the great cover art alone. This time they went for a fully classically minded instrumental album, expanding their original folk-rock-meets-orchestral style and conjuring up superb atmospheric soundscapes that carry the listener off to some ‘long-gone’ worlds where history and fantasy blend together. In terms of arrangements, it was their most ambitious and adventurous record ever, packed with a string of hugely complex variations and sudden avant-garde-spiced ‘switch-offs’, which were more the exception than the rule for the mostly melody-driven Gryphon.
The level of complexity and virtuosity on this record still thrills even the most demanding prog rock gourmets today, so it’s no surprise that »Red Queen to Gryphon Three« is so highly regarded among all lovers of quality prog folk rock. All four pieces on the album are steeped in pompous Renaissance-Baroque arrangements and a combative mood that convincingly recreates the effect of a chess duel.
»Opening Move« features constant shifts between classical passages, with keyboardist Harvey especially convincing, while guitarist Graeme Taylor shines with neo-Baroque guitar variations, creating a solemn, enigmatic atmosphere. Virtuoso speed, remarkable precision and compositional perfectionism keep joining hands across the individual, highly complex arrangements, and the atmospheric intensity doesn’t let up for a single second. Some comic touches reminiscent of village geese honking come mainly from Gulland’s woodwinds, led by the bassoon and the horn, while Dave Oberle’s drum parts keep up the feel of a battle march. In the closing section, things get tangled up through wild improvisation and for a short while a downright chaotic mood breaks out, as if the fight in front of the castle walls had just flared up. A solemn piano arrangement and ‘croaky’ woodwinds still manage to provide an elegant way out and a lovely ending to this splendid opening piece.
»Second Spasm« opens with an almost danceable Renaissance arrangement, where the playful woodwinds and the acoustic guitar take the central role, creating an authentic minstrel vibe. The tempo picks up as the track goes on and the band quickly weave in numerous unpredictable rhythmic variations, all while holding on to the central melodic thread. The bassoon improvisations once again deliver the ‘village geese honking’ effect, while the classical keyboard passages are once again the main source of epic pomp, mixing village rusticity with solemn, almost sacred reverence. Rhythmic elements of a Tudor madrigal creep into the closing section, while the supersonic guitar passages sit in fine harmony with the playful woodwind and keyboard arrangements.
»Lament« tells you with its title alone that this is a piece with a distinctly melancholic, watchful atmosphere, which is more the exception than the rule for the traditionally playful and high-spirited Gryphon. All lovers of folk rock refinement will still enjoy it immensely today, as it bends under the weight of subtle symphonic arrangements and pleasant guitar chords that carry the main melody. After the first three minutes, the rhythmic character of the track changes quite a bit and takes on darker, yet still predominantly romantic shades. In the closing section comes another stylistic turn, into more spirited and fast-paced rhythms, with the acoustic guitar still pushed to the front. The solemn sound of the organ delivers a truly epic finish. Through Gryphon’s sonic legacy, the atmospheric image of the Middle Ages always came across as distinctly romantic and idealistic. For them, the notion of the ‘Dark Ages’ apparently never existed.
The closing masterpiece »Checkmate« is yet another showcase of arrangement complexity, nimble-fingered virtuosity and rhythmic variability, where the mood shifts almost constantly, though a fiercely passionate, combative atmosphere more or less rules. Elegant piano arrangements often give way to an energetic woodwind section with mighty guitar variations. It’s downright amazing at times how, with a kind of apparent ease, the members of Gryphon build complex improvisations while still holding on to the melodic nature of this superb compositional feat. While listening, the listener can once again conjure up plenty of vivid, romantic imagery, which the aforementioned album cover encourages generously.
A game of chess has never sounded as good as it does on the Gryphon masterpiece »Red Queen to Gryphon Three«, their finest achievement and a classic of minstrel-flavored progressive folk rock. ŠIt’s a shame that Gryphon never managed to climb into the ranks of the most celebrated and recognizable prog rock bands. They undoubtedly belonged among the best of them for a short time in 1974, when, besides making great albums, they wrote music for stage productions, namely Shakespeare plays such as ‘The Tempest’, and became the first and so far only rock band to perform at Britain’s prestigious National Theatre.
Lineup
Richard Harvey – keyboards, horn
Brian Gulland – woodwinds
David Oberle – drums, percussion
Graeme Taylor – guitar
Philip Nestor – bass guitar
GUEST MUSICIANS:
Ernest Hart – organ
Peter Redding – acoustic bass
Production
Gryphon
Track list
1. Opening Move (9:42)
2. Second Spasm (8:15)
3. Lament (10:45)
4. Checkmate (9:50)
