Tag Archives: gryphon

Best Concerts of 2015

BestOf2015_Buddies2Once again my wife Artina and I had a wonderful year of travel and concerts, stoking our love of music and performance. It was another year that saw many acts from the 1970’s and 80’s coming back to town, along with several new bands we’ve followed over the last 25 years. Here is a list of the eleven best shows (one more than 10!) more or less ordered from best to less best, from where we sat:

Steven Wilson, San Francisco & London

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We were privileged to catch Steven on his Hand.Cannot.Erase. tour stop at the Warfield theater in San Francisco, and then again one the second night of his London show at the Royal Albert Hall. Both were spectacular, but the London show was special as Ninet Tayeb was on hand to sing a devastating, beautiful lead vocal for “Routine” and Wilson performed many Porcupine Tree classics including a song I’ve happily not been able to get out of my head “She’smovedon.” Wilson and his concert production team are adept at staging his work live, setting the mood with long dissonant ambient sounds, muted lighting and surrealistic imagery projected on a stunning high definition screen. As with earlier shows in the tour, the lighting techniques were clever and colorful. Sound was crisp and clear, reproduced by the top-notch audio system, which sounded amazing in the acoustic-friendly Royal Albert Hall. Even with all the finery, the primary focus remained on the band members and guest musicians demonstrating their virtuosic skills throughout.

Änglagård, Cruise To The Edge

Anglagard_BandSax_72dpiNot my wife’s favorite, as they can be very angular, but I’m working on her! I find this band from Sweden to be on the forefront of modern progressive rock. Taking cues from King Crimson, and European peers Shylock, SFF, and Ragnarok, this band manages to hit both beautiful and melancholy sounds in perfect harmony, calling in mind things like “Lark’s Tongues in Aspic” while being completely original. Their two sets on the cruise were a rare treat given their infrequent tours. Änglagård incorporated flute and acoustic instruments, putting Anna Holmgren (flute, saxophone, Mellotron, recorder, melodica) at center stage, Tord Lindman on guitar and occasional vocals, and the rest of the talented band all anchored by Johan Brand’s confident leads on Rickenbacker bass. Their live performances are more fluid and accessible than on record, as is true of the best bands.

Martin Barre, Cruise To The Edge
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This long time Jethro Tull guitarist led his crack band of blues-rockers through a roots-oriented show, focusing on new songs from his latest solo album, the excellent return to form Back To Steel. A follow-up morning gig featured more Tull classics including a very condensed version of a Tull epic they called “Thin As A Brick” after which Martin expressed the desire to carry on indefinitely, threatening to play the 1973 opus A Passion Play backwards! On the new album and in concert, vocalist and second guitarist Dan Crisp shines, bringing his own style to the new tracks, and the older Tull songs. Clearly, all members of the band, which included skilled drummer George Lindsay and veteran bassist Alan Thomson were in fine form. Martin looked happy and relaxed, joking that it was the first gig they played on coffee, and announcing, “Thank you for choosing us over porridge…were going to be the best breakfast you ever had!” Truer words…

Gryphon Fly Again

GryphonGIG_Band
Gryphon recorded 5 albums from 1971-1977, each with a slightly different contemporary take on traditional English folk music including medieval and Renaissance era sounds, and original compositions, which blended instruments like bassoon, crumhorn, recorders and mandolin, with modern electric bass, guitar, and keyboards. We had the rare opportunity to see their reunion show earlier this year, which was a consistent display of virtuosity from each of the skilled multi-instrumentalists. Drummer Dave Oberle and Brian Gulland occasionally sang in rich bass and baritone voices undiminished by their long absence from the stage. Dave’s work on drums and percussion, along with bass player Jon Davie anchored the songs with rumbling toms, and a thick and varied bottom end. Guitarist Graeme Taylor spent the evening seated with his acoustic guitar front and center, adding shimmering rhythms and leads to the music. Relative newcomer Graham Preskett filled in on all sorts of instruments including the only electronic keyboard, along with guitar, violin and winds. Founder Richard Harvey and Brian led with solo and dueling winds and traditional keyboards, each thrilling the audience with their display of talent. Richard’s lightening fast leads on recorders bring honor to a sometimes-maligned instrument. Brian’s skill on the bassoon is a fun listen – certainly something you won’t often hear elsewhere. And, you haven’t seen anything in progressive folk/rock until you witness two expert crumhorn players duel with rapid-fire counterpoint!

Camel’s Long Journey, Rambin’ Man Festival

RamblinManAndyflute 72dpi
Founding guitarist Andrew Latimer’s shows a rare restraint, like contemporaries Eric Clapton and David Gilmour, wringing powerful emotion from every note, never crowding the measure. On top of this, he sings and plays flute, and these skills were all on display at the summer festival. He traded leads and harmonies with Colin Bass (who makes everything he does look easy, paired with Denis on drums) and shared solos with keyboard wizard Ton, who was in great form. Although this was a great show, the band was rushed offstage, seeming to be surprised at the shorter time they were allotted. Prior nights on this brief tour included a three track set from Dust and Dreams (1991) a keyboard instrumental, and “Long Goodbyes” from Stationary Traveller, (1984), one of our favorites, none of which they were able to play. The rush seemed unnecessary; the stage time allotted to the comparatively pedestrian Scorpions would have fit Camel’s entire set list. It was not an arrangement befitting one of Britain’s most talented musical outfits. Nonetheless Camel packed a punch during their truncated 80 minute set and made the trip to England special for us.

Alan Parsons at Club Nokia

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Alan Parsons and his supremely talented band played the Nokia Club in Los Angeles, performing in town for the first time in 6 years on June 11, 2015. The group was at the absolute top of their game, driving through a set list that included many of their hits recorded over the years as The Alan Parsons Project, and in particular highlighting one of their most popular albums, The Turn Of A Friendly Card (1980). Parsons and his musicians were all in a great spirit, reproducing the sound of the studio records with pinpoint accuracy but also with some improvisation, and room to demonstrate virtuosity. The band on this night were: Alastair Greene (guitar), Dan Tracey (guitar), Guy Erez (bass), Danny Thompson (drums), Tom Brooks (keyboards), Todd Cooper (lead vocals, saxophone, cowbell J), and long time vocalist P.J. Olsson who just nails the delicate, emotive vocals of songs like “Time” and “Old and Wise” –truly wonderful.

Robert Plant’s Still Got It!

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Robert Plant totally rocked the BottleRock festival in Napa California on May 30, 2015. We brought a dozen friends along for our birthday weekend, and went in with mixed expectations – knowing he would do some of his own material and of course some Led Zeppelin classics and generally just hoping to see this rock n’ roll legend perform at his best. From the start we were actually a bit shocked at how incredible the show was. Robert opened with “The Wanton Song” an old Zeppelin classic, performed pretty much as originally recorded. What followed was a mix of his solo work, covers, and Zeppelin songs, including “Black Dog”, “The Lemon Song”, “What Is and What Should Never Be” and others. During Robert’s rendition of “Going To California” a 20 something woman behind me started to cry and I realized what an impact Zeppelin’s music and Robert’s vocal prowess have meant to generations.

Dungen’s Groove

Dungen_band2
Swedish band Dungen’s sound has softened a bit over the years since the debut in 2001. Since it’s music that’s hard to describe, it’s best to listen to a few tracks. Check out this video for “Akt Dit” which sports an intro and melody reminiscent of French duo Air. Or for an earlier more challenging psychedelic track try “Högdalstoppen” from the album Skit I Allt (2010). While the majority of songs are more pastoral and melodic, each show has at least one long instrumental “freak out” such as “Högdalstoppen.” Best to salve the dissonance with a typical follow up track such as “Satt Att Se” which sports a nice animated video. As if to confirm the difficulty one has describing their sound, front man Gustav Ejstes explains on their website that the 2010 album Skit I Allt “is about a certain feeling: you’re with your friends and mates, all hanging out till 6 in the morning. You’re the last one left at the party and you call this person that you want to be with. They’re asleep, but they still say, ‘Ah, fuck it, come over.’ It’s that feeling.”

Kansas Carry On…. In Valencia, California

KansasArticle2015
Kansas is now touring again, populated with the two original members Ehart and Williams and new members that have joined over many years. Original member Dave Hope (bass) left in 1983 and Billy Greer has played bass with the band since then. Robby Steinhardt (violin, vocals) retired almost 10 years ago in 2006 and David Ragsdale has been their violin player since that time, with Greer covering Steinhart’s vocal parts. Principal composer Kerry Livgren (guitars, keys) was in and out of the band until his final departure in 2000, and since then both Williams and Ragsdale cover his guitar parts. After Walsh’s retirement last year, the remaining players hired Ronnie Platt primarily to cover his vocal parts, along with some keys, and David Manion to supply primary keyboard parts and add some background vocals. The good news is, as seen carrying on this year, Kansas is definitely back and ready to roll.

Ty Segall’s Glam and Grind

TS_plusdrum
Ty Segall is a 27 year old indie rock wunderkind from San Francisco. Ty has released eight studio albums, beginning with 2008’s Ty Segall and continuing thru to 2014’s rocker Manipulator, building a solid fan base over these last seven years. In addition, he has released more than two-dozen singles and EP’s and played on as many albums by other indie bands. We caught up with him at the Great American Music Hall last January. From the first note it was clear that Ty’s punk roots remain strong. Hard core fans populated a mosh pit up front, slowing to rapt attention only during some of the new numbers, and building to a fever on the rest. The performance was energetic and unrelenting, as Ty, dressed in workman’s jump suit attacked both guitar and vocal leads with aplomb, recalling an early, angular Pete Townsend, though channeling less anger, more excitement (he is from California after all).

Blancmange Semi-Detached

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Blancmange recently completed a two-night live stint at The Red Gallery in London. We were fortunate to be over from San Francisco, to catch the first of these on Friday May 15, 2015. Blancmange last made it to my city by the bay way back in the early 1980’s when I felt similarly fortunate to catch a show at the Old Waldorf. There we witnessed Neil Arthur (vocals, haircut, quirky moves), Stephen Luscombe (keyboards) and David Rhodes (guitar, rhythm) play along with a reel to reel tape, backup singers, and a harried drummer who had occasional trouble keeping up with the pace of Stephen’s drum machine. It was a fantastic show – one of my favorite memories of 80’s era “new wave” concerts we attended in and around San Francisco. Blancmange is now primarily the vehicle for singer Neil Arthur and his current day electronic music. Founding partner Stephen Luscombe is said to be ill, unable to join on this album and live shows that follow. For the concert, long time guitarist and collaborator David Rhodes, was present once again. It was a fun show from these talented artists.

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David Gilmour, Heart, Of Montreal, Yes, Marillion, Three Friends, PFM, Moon Safari, Haken, Steeleye Span, Robin Trower, U.K., Mew, Billy Idol, Paula Frazier, Tempest, Midge Ur, Magma, Blue Oyster Cult, Simon Phillips and David Pack were all excellent as well – we feel blessed to have seen more than three dozen incredible artists perform in concert this year.

Honorable mention must go to Madonna, who brought her stage extravaganza to the bay area this year. Her shows are akin to Las Vegas productions, much like veteran diva Cher, complete with hi-def video, large band, dancers, and lots of props and production value. It was a fantastic show – the only pop oriented band of the year, owing to the fact that I am buried in 1970’s history at the moment, finishing a book on that era’s defining rock concerts. From here forward, we have a definite plan to put away the AARP card, and get out to hear more new bands. We are already set to include Beach House, Ra Ra Riot, Muse, and many more.

Madonna_holiday

I’m also happy to be learning more about how to take concert photos at these shows. Artina does some, and has a great eye, and I’m trying to catch up. Last several shows I’m using the “bridge camera” Lumix FZ-1000 and liking the results. Given I’ve been fortunate to meet some of the greatest photographers of the rock era this year, it’s been an inspiration!  Happy New Year to you and yours….. Doug

Gryphon Take Flight

GryphonGIG_AdThis week we witnessed the first of six concerts from the 1970’s progressive folk/rock band Gryphon. Opening night took place at The Robin, a small club in Wolverhampton, on 12 May, 2015. The show was absolutely fantastic! There are more gigs planned through May, all taking place in England. If you can get to one it’s highly recommended!

Gryphon recorded 5 albums from 1971-1977, each with a slightly different contemporary take on traditional English folk music including medieval and Renaissance era sounds, and original compositions, which blended instruments like bassoon, crumhorn, recorders and mandolin, with modern electric bass, guitar, and keyboards. Their landmark work was a unique mix of influences that introduced generations of open-minded music lovers to the rich musical heritage of their past, seasoned with a bit of rock for the times.

Gryphon_RedQueenBack in the golden age of progressive rock there was an amazing array of artwork that graced record album covers, and I was originally drawn to Gryphon by the cover art for their third album Red Queen to Gryphon Three (1973). The music was as fantastic as implied by the sumptuous cover painting by Dan Pearce – an older man contemplating his chessboard in a pastoral scene recalling the Renaissance era.

Being from California, I never had the chance to see the group ply their trade live, though I was well aware they opened for Yes in Britain and on the east coast in 1975. They haven’t played live since then save for a one-off show in London 2009. Therefore, the shows this spring are a special chance to see these musicians perform their masterworks.

GryphonGIG_BandIt was absolutely well worth the wait. The band played their set in two halves, the first covering a number of their early tracks with an emphasis on their self-titled debut, which includes a number of more traditional pieces. The second half of the show added the title track from Midnight Mushrumps, a good portion of crowd-favorite Red Queen to Gryphon Three, and a fun encore with some unexpected deviations from their normal fare.

GryphonGIG_GraemeANDDavidOberleFrom the moment the guys first took the stage it was striking to hear how effective they were going to be in a live setting. There was a consistent display of virtuosity from each of the skilled multi-instrumentalists. Drummer Dave Oberle and Brian Gulland occasionally sang in rich bass and baritone voices undiminished by their long absence from the stage. Dave’s work on drums and percussion, along with bass player Jon Davie anchored the songs with rumbling toms, and a thick and varied bottom end. Guitarist Graeme Taylor spent the evening seated with his acoustic guitar front and center, adding shimmering rhythms and leads to the music. Relative newcomer Graham Preskett filled in on all sorts of instruments including the only electronic keyboard, along with guitar, violin and winds. Founder Richard Harvey and Brian led with solo and dueling winds and traditional keyboards, each thrilling the audience with their display of talent. Richard’s lightening fast leads on recorders bring honor to a sometimes-maligned instrument. Brian’s skill on the bassoon is a fun listen – certainly something you won’t often hear elsewhere. And, you haven’t seen anything in progressive folk/rock until you witness two expert krumhorn players duel with rapid-fire counterpoint! There was good humor on display from all, particularly Richard who introduced most of the selections.

GryphonGIG_BrianANDJonDavie
Brian with Jon Davie

It was an exciting evening, long anticipated, and all we hoped for. Earlier this year, of these shows drummer Dave Oberle remarked: “The last proper tour was 39 years ago. Some of the people who will come to this concert weren’t even born when we started. We know a lot of the audience are “silver surfers” that are our age, but if you look at the web stats, there are guys 15-24 years olds telling us they found our records in their dad’s collection and are looking forward to seeing us. It’s medieval meets the 20th century!” In fact, attending with us was a young bass player studying music at Leeds who to Dave’s point, very much enjoyed the experience. Here’s hoping the group take this music to the public again – it’s best served up live by this important band.

The Band:

Richard Harvey – Keyboards, Recorders & Krumhorn
Brian Gulland – Vocals, Harmonium, Bassoon & Krumhorn
Graeme Taylor – Guitars
Dave Oberle – Vocals, Drums & Percussion
Jon Davie – Bass and Guitar
Graham Preskett – Keyboards, Winds, Violin, Enthusiasm

The Gigs:

By the time this hits Gonzo Weekly, there will only be three chances left to catch Gryphon on this short tour. These are the last dates for now:

17th May – Hertford Corn Exchange (Gryphon special guests to Fairport Convention)

        Tickets:

        – Website: http://www.reallylivemusic.com
        – Tel: 07904 333923 (Enquiries:10am-6pm, Mon-Sat)

20th May – Southampton Talking Heads

        Tickets:

        – Website:www.thetalkingheads.co.uk
        – Tel: 02380 678 446

29th May – London Union Chapel

        Tickets: 

         – Website: http://store.unionchapel.org.uk/events/29-may-15-gryphon-union-chapel/

 

If I might make a recommendation to anyone who is interested in progressive rock, medieval and Renaissance sounds and instrumentation I would say, hop off that couch and catch one of these shows!

GryphonGIG_RichardHarvey
Richard Harvey
GryphonGIG_GrahamPreskett
Graham Preskett
GryphonGIG_GraemeTaylor
Graeme Taylor
GryphonGIG_DaveOberle
Dave Oberle
GryphonGIG_BrianGulland
Brian Gulland

 

Gryphon Ascends

Gryphon_RedQueenBack in the tumultuous days of 1975 the progressive rock movement was in full flight. At that time, considering the amazing array of artwork that graced record album covers, it was often the case that one might explore a new band based on the strength of the package. Such was the case for me with the band Gryphon, and their third album Red Queen to Gryphon Three. The music was as fantastic as implied by the sumptuous cover painting by Dan Pearce – an older man contemplating his chessboard in a pastoral scene recalling the Renaissance era.

Gryphon recorded 5 albuGryphon_MM_press_photoms from 1971-1977, each with a slightly different contemporary take on traditional English folk music including medieval and Renaissance sounds, and original compositions, which blended traditional instruments like bassoon, crumhorn, recorders and mandolin, with modern electric bass, guitar, and keyboards. This album was my introduction to the band.

Being from California, I never had the chance to see the group ply their trade live, though I was well aware they opened for Yes in Britain and on the east coast in 1975. Recently, to our great excitement, we booked tickets to see Gryphon this May in England, as they have reformed and are staging a short tour for the first time in 39 years.

http://www.gaudela.net/gryphon/
http://www.gaudela.net/gryphon/

I had the chance to talk with David Oberle, drummer, percussionist, and vocalist for Gryphon about their history including their rare live performances:

Gryphon_early_b&w_roundGryphon had 5 incarnations effectively – every album was so different. I’ve played albums to people who thought there were different bands! There was a natural progression, as we developed the band. The first album Gryphon (1973) established us. The music we wrote for a Tempest performance was to form the basis of Midnight Mushrumps (1974). That second album maybe appeared inaccessible to a lot of people who had liked our first one – not only do you need to have an appreciation of more classically based music you might need to be a musician to really understand it!

Gryphon_debutFrom Gryphon, “The Unquiet Grave”

The title track, Midnight Mushrumps, was performed at the Old Vic in July 1974 – the only rock concert ever held at Britain’s National Theatre – is there a recording of that show?

This was a wonderful opportunity. Our publicist at the time Martin Lewis does have the master, recorded on four track, though over a period of time tapes disintegrate – he plans to see if we can get it digitized – we probably have only one run at it before the tape falls apart! There is an old cassette of it, but only good enough for a reference. It is of historic interest as it’s true – we were the only band to ever play at the Old Vic. When we did the Queen Elizabeth Hall show in 2009, Sir Peter Hall, who had directed the Royal Shakespeare Company’s production of “The Tempest” at the Old Vic, attended, which was a huge honor.

Gryphon_MidnightMFrom Midnight Mushrumps, the title track

After this, you released Red Queen to Gryphon Three, which seems your most progressive album, complete with Moog synth leads and electric bass, and you toured with Yes

The tour in support of Yes began back when Red Queen to Gryphon Three just came out. We were a good balance for them because we were very English but very different from them. They had been great heroes of ours for a long time. The connection there was that Richard and Brian were at The Royal College of Music at the same time as Rick Wakeman and he introduced us to the Yes management and that’s how we got the gigs. The tour we opened for them was in support of their Relayer record, with Patrick Moraz on keyboards. We played for about 45 minutes a set list typical of the time – tracks from the first three albums. In the states, we made it to the east coast but not the west.

Red Queen to Gryphon Three, our third, was probably the most accessible of our albums, and most of the time the one people mention. The prog rock scene here and in America was beginning to open up, and audiences were growing. We were friends with the Yes guys and were influenced by what they were doing – but we also wanted to keep the instrumentation different. When we originally toured America I think there was an interest in what we were doing with the more traditional instruments. Richard and Brian were classically trained. As the band went on, what Graeme and I were doing came more to the fore. When we got Phil Nestor on bass the thing began to shift. Before then we had effectively no bottom end – Brian was playing bassoon and that with the bass drum was the low end. All of the sudden we introduced electric bass and the whole sound just exploded and took it to something completely different.

Gryphon_RedQueen_group

From Red Queen To Gryphon Three, Second Spasm

A reader survey here in the UK a couple years ago in classic rock magazine put Red Queen at number 5 in the top 100 prog albums of all time – it’s a shame the sales did not reflect that but its nice when something like that happens because it means its not just the older people who are interested – Classic Rock magazine has a reasonable spread of ages in the readership – so its nice to see it come to the attention of new listeners. I hope we can perpetuate that.

Your final release, Treason, in 1977 took even more of a rock direction, but marked the end of the band at that time.

The story behind Treason was that Brian Lane, who was Yes’s manager at the time got us signed by Clive Davies to Aritsta Records in the States. Gryphon_RaindanceRaindance (1975) our fourth was a bit of a mish-mash and really went nowhere. We got out of the contract with Transatlantic and signed with EMI Harvest in the U.K. Treason was produced by Mike Thorn – he was responsible for getting the Sex Pistols signed to EMI, so enough said! That was when the whole punk thing came in and ran over so many bands here and in the states. Suddenly there was this new music – it was a different approach, a different way. People didn’t want to go to stadiums and see bands with dry ice and everybody dressed in up in costumes and things flying around stage. It was just four guys and a light bulb and that was it. It flattened a lot of bands. We hadn’t ticked up to the size of audience where we could survive it. Bands like Yes, King Crimson and Genesis – they were already there – they were established and kept their following. Maybe if we started a year earlier, we might have made it. Also, all 5 of our albums were different and some fans did not follow us through all of them. Someone who liked our debut album might not like Treason. In the 70’s we literally had nuns sitting next to Hell’s Angels in the audience – it was seriously diverse!

Gryphon_TreasonFrom Treason the title track 

Tell us about the new tour and what we might expect from the current lineup.

We are spreading the word now for the new tour – the last proper tour was 39 years ago. Some of the people who will come to this concert weren’t even born when we started. What you will see with this version of Gryphon is us going back to our roots. We will have the prog influences but we will steer away a bit from the electric side of our work and focus on the acoustic.

We know a lot of the audience are “silver surfers” that are our age, but if you look at the web stats, there are guys 15-24 years olds telling us they found our records in their dad’s collection and are looking forward to seeing us. It’s medieval meets the 20th century!

There are a couple of video clips of the 2009 show – any plans to record a concert?

Gryphon_reunion_band
Queen Elizabeth Hall, 2009

The reason we did not film the show last time was the steep fees we would have faced from the venue. Now we are thinking of recording the Union Chapel gig. There a lot of comments on our site from the states and other locations –people who can’t come – and if we can manage it, a film would be a way to get the show to them. The editing and production can be very costly, so we will see. We are going out and playing 200-300 seat theaters – I don’t know if it’s the same in America but these days its getting really difficult to get people out to see bands. We have to reinvent ourselves.

The other situation is that Richard spends a lot of his time writing, and is doing very well – he does not need to play with Gryphon for the pay – he is in LA for 5 weeks recording for Disney, and he lives 6 months of the year in Thailand. Consequently we get a limited window. Gryphon was really his band – his idea from the start. This has made it difficult to put together new material and perform live.   The change in concert really came when we invited multi-instrumentalist Graham Preskett to play with us. He is a long-standing friend of the band and he’s added a huge amount to the new lineup. With him there we can almost recreate Midnight Mushrumps perfectly. After 40 years we’ve all gone off and done stuff and come back again – the musical core of knowledge we have now has increased tremendously. All of us are dragging along a history behind us that we did not have when Gryphon first kicked off. Back in the 70’s when we were creating it we were really just a bunch of hoodlums (laughs) so with 40 years of experience you start to learn a few new tricks.

Audience video from the 2009 show – Red Queen medley

Gryphon will be playing the following dates on this tour:

12th May – Wolverhampton Robin 2
Tickets:
        – Website: http://www.therobin.co.uk/whats_on/?m=201505
        – Tel: 01902 401211

13th May – Milton Keynes Stables
Tickets:
–  Website: http://www.stables.org/Whats_on/Event/Gryphon

15th May – Haslemere Hall, Bridge Road, Haslemere, Surrey. GU27 2AS
Tickets:
        – Website: http://tickets.haslemerehall.co.uk
        – Tel: 01428 642161

17th May – Hertford Corn Exchange
        (Gryphon special guests to Fairport Convention)
Tickets:
        – Website: http://www.reallylivemusic.com
        – Tel: 07904 333923 (Enquiries:10am-6pm, Mon-Sat)

20th May – Southampton Talking Heads
Tickets:
        – Website:www.thetalkingheads.co.uk
        – Tel: 02380 678 446

29th May – London Union Chapel
Tickets:
        – Website: http://store.unionchapel.org.uk/events/29-may-15-gryphon-union-chapel

In total there are six gigs. There are complaints we are not going north past Birmingham, but we would have liked to. We will try these dates and if it works, the agent will have the ammunition he needs to go north, based on the reviews and attendance.

We’ve decided to do this tour because there’s something going on – our web traffic says there is real interest (210,000 hits to date) and traffic to the Facebook page is increasing. We just did an interview for Record Collector, so even the press is picking up on the story. We will present Gryphon to fans and hopefully gain some new friends along the way.

After a very long wait we will be coming over from San Francisco to see the first night of the tour in Wolverhampton. It promises to be a special night – if you are not aware of Gryphon, check them out, then climb out of that comfy chair, and make it to one of these gigs!