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GORDON GILTRAP

Prog Related • United Kingdom


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Gordon Giltrap biography
Gordon GILTRAP is a well-known English, self-taught acoustic guitarist who has played since the 60's, where he was part of the folk scene in London alongside with Mike OLDFIELD, Bert JANSCH and John RENBOURN.

GILTRAP would get more recognition in the 70's as a purely instrumental figure, with his album "Visionary" released in 1976. While the following year, he would achieve even a bigger success with his own band, THE GORDON GILTRAP BAND, with "Perilous Journey", which already started using progressive elements. GILTRAP in the end of the 70's worked as a classical composer writing famous pieces like "The Brotherhood" and "The Eyes of the Wind Rhapsody".
Nowadays, GILTRAP has been working with famous musicians from the Prog world, like John ETHERIDGE of SOFT MACHINE, and in his latest release with Rick WAKEMAN of Yes.

GILTRAP is a worthy inclusion to the Archives thanks to his wide range of styles, which one of them was introducing Prog elements with his unique acoustic guitar style, which is still remembered today by folk bands.




thanks to Pablo (cacho) for the biography

Gordon Giltrap official website

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Ravens & LullabiesRavens & Lullabies
Import
Esoteric 2013
Audio CD$10.66
$15.91 (used)
Peacock Party: Remastered & Expanded EditionPeacock Party: Remastered & Expanded Edition
Import
Imports 2014
Audio CD$10.66
$8.26 (used)
On a Summer's NightOn a Summer's Night
Import
La Cooka Ratcha UK 2000
Audio CD$15.95
$4.99 (used)
Live at OxfordLive at Oxford
Remastered · Import
Esoteric 2013
Audio CD$10.66
$15.73 (used)
Echoes of HeavenEchoes of Heaven
CD Baby 2012
Audio CD$15.46
$1.40 (used)
Perilous JourneyPerilous Journey
Remastered · Import
Esoteric 2013
Audio CD$10.66
$15.91 (used)
A Midnight ClearA Midnight Clear
Import
La Cooka Ratcha UK 2003
Audio CD$16.50
$16.25 (used)
Remember ThisRemember This
Import
La Cooka Ratcha UK 2008
Audio CD$15.23
$19.20 (used)
Right Now on Ebay (logo)
GORDON GILTRAP - A Testament of Time [CD 2008] Acoustic Guitar Folk Country Rock USD $7.82 [0 bids]
3h 2m
GORDON GILTRAP Weary Eyes 7" B/w Nightrider UK Electric 1978 USD $8.19 Buy It Now 6h 51m
LP GORDON GILTRAP FEAR OF THE DARK TRIX7 EX/EX USD $12.49 Buy It Now 6h 55m
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7h 58m
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GORDON GILTRAP Heartsong 7" Solid Label Design B/w Deserter UK Electric 1977 USD $8.19 Buy It Now 14h
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GORDON GILTRAP Fear Of The Dark 7" Solid Label Design B/w Inner Dream Pic Sleev USD $8.19 Buy It Now 14h 27m
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GORDON GILTRAP Lucifer's Cage 7" Demo B/w Ecchoing Green UK Electric 1976 USD $8.19 Buy It Now 14h 46m
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20h 15m
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GORDON GILTRAP discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

GORDON GILTRAP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Gordon Giltrap
1968
0.00 | 0 ratings
Portrait
1969
2.05 | 3 ratings
A Testament Of Time
1971
0.00 | 0 ratings
Giltrap
1973
3.47 | 17 ratings
Visionary
1976
4.20 | 19 ratings
Perilous Journey
1977
3.75 | 13 ratings
Fear Of The Dark
1978
3.47 | 8 ratings
The Peacock Party
1979
3.02 | 3 ratings
Airwaves
1982
2.50 | 2 ratings
Elegy
1986
0.00 | 0 ratings
A midnight clear
1988
1.10 | 2 ratings
The Solo Album
1992
2.95 | 2 ratings
Music For The Small Screen
1995
3.02 | 3 ratings
Troubadour
1998
2.10 | 2 ratings
Drifter
2004
2.14 | 3 ratings
From Brush & Stone (Gordon Giltrap & Rick Wakeman)
2009
3.68 | 16 ratings
Ravens & Lullabies (Gordon Giltrap & Oliver Wakeman)
2013

GORDON GILTRAP Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 4 ratings
Live At Oxford
1981
3.00 | 1 ratings
The Gordon Giltrap Band Live 1981
2003

GORDON GILTRAP Videos (DVD, Blu-ray, VHS etc)

GORDON GILTRAP Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Performance
1980

GORDON GILTRAP Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

GORDON GILTRAP Reviews


Showing last 10 reviews only
 Perilous Journey by GILTRAP, GORDON album cover Studio Album, 1977
4.20 | 19 ratings

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Perilous Journey
Gordon Giltrap Prog Related

Review by apps79
Special Collaborator Neo Prog Team

3 stars The elegant, instrumental sound of ''Visionary'' was good enough to become pretty succesful, forcing Giltrap to form the Gordon Giltrap Band, opening a new chapter in his career.Bassist John G. Perry, drummer Simon Phillips and keyboardist Rob Edwards were of course the stable members, accompanied by a strong wind section.''Perilous journey'' was the next album in the row for Giltrap, recorded at Redan Recorders and released in 1977 on The Electric Record Company. Stan Sultzman joins on sax and Martin Drover on trumpet among the usual participants, Jeff Daly on baritone sax, Tony Carr on percussion, Pat Halling on strings, Chris Pyne on trombone and Henry Lowther on second trumpet.

The early, rural vibes become less and less apparent with each Giltrap release and the sound on ''Perilous journey'' obtains a smooth electric atmosphere with orchestral and symphonic overtones, akin to SKY or even STEVE HACKETT.The music is pretty gentle and elaborate with nice use of electric guitars, injections of classical guitar and plenty of piano and keyboard lines in the process, resulting to dreamy and well-crafted arrangements.The presence of trumpet, trombone, sax and strings do offer this lush, orchestral feeling, similar to MIKE OLDFIELD's works, but Giltrap had now his own, genuine way to blend symphonic moves, light acoustic soundscapes and rhythmic twists into a charming, progressive amalgam with an obvious touch of 70's Prog Rock.Despite the overall delicate style, certain tracks become quite grandiose with full-blown keyboards, emphatic orchestral backgrounds and Giltrap's quirky guitar plays, both in electric and acoustic form.Rob Edwards provides some fantastic keyboard themes and solos on organ and Moog synthesizer and the album ends up to be pretty rich in sounds and sights with the everchanging tempos and climates.

Second attempt of Giltrap along the lines of progressive music.Intense, ethereal instrumental, quasi-Symphonic Rock with some advanced arrangements.Great stuff, strongly recommended.

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 Perilous Journey by GILTRAP, GORDON album cover Studio Album, 1977
4.20 | 19 ratings

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Perilous Journey
Gordon Giltrap Prog Related

Review by tszirmay
Special Collaborator Crossover Team

4 stars The prog universe is an eternal infinity, as I often wonder when will I ever hit the bottom of the barrel! Well, thankfully that won't ever happen, there is simply so much music and so little time (yeah, and money!). Obviously, I had heard of Gordon Giltrap without ever having had the op to discover his music. Now, what is particularly sordid about this abject failure on my part, is the well-known chronicled fact that I am a devout bass fetishist who has a particular affinity for John G. Perry, former Curved Air, Caravan, Quantum Jump and Ant Phillips man, who also has published two hard to find solo albums that deserve progressive attention. It is only now that I have purchased both 'Visionary' and 'Perilous Journey', non-arguably Giltrap's two most symphonic releases. I guess one has to mellow with age but truth is acoustic guitar maestros have never really banged my gong, as the sadly departed Marc Bolan would say. No Bert Jansch, one John Renbourn (I have a vinyl somewhere), one John Martyn (same situation), no Paco de Lucia, no Steve Tibbets etc'' Boy, do I feel stupid, missing out on this! One of the top rhythm sections in the cosmos with Perry and the legendary Simon Phillips on the kit, and I just now get the thrill?!? Shame on me!

Truth is Giltrap is a master guitarist, a fluid and technical player who has a storied legacy in folk circles til today. This comment from Ritchie Blackmore (who needs little introduction to anyone in this galaxy= 'Anyone who asks me knows, that I think that Gordon Giltrap is one of the best acoustic guitar players in the world. He gave me lots of hints on how to approach the acoustic guitar as opposed to the electric guitar. He was always way ahead of his time. His concerts and playing are breathtaking. He's also very witty, and I love the fact that he has not cut his hair!" Funny Ritchie, and they say you are humourless, pfff! Sadly, I had no prior knowledge of Gordon Giltrap as well as keyboardist Rod Edwards, who adds so much 'symphonicity' to the proceedings. The mid-70s British hit 'Heartsong' did not quite reach the shores of North America, for whatever reason, so I had never heard it before until my recent 2014 purchase! Pity! A tremendous display of acoustic technique and bravado. Well, I am proud to admit that this is a splendid recording, lush with sterling orchestrations, magnificent arrangements, sublime drumming and masterful acoustic guitar playing as well as Perry's resonating tour de force. This will fit in nicely beside Gryphon, Oldfield, Colin Masson and the Morrigan, for example.

Every track is utterly tasty, in terms of technical prowess and artistic merit, earning very high marks for originality, poise, composure and resonance. In fact, some tracks have an immediate appeal, being densely orchestrated and thus staying away from foolhardy schoolmaster tendencies that can choke the juice out of any album. The colossal symphonics on 'Quest' harken back to 'Red Queen to Gryphon Three' days, an album justly considered by a wide variety of prog fans as a top 20 classic! Edwards in particular shines brightly on piano and assorted keys, surprising in both its mellow and exuberant modes , but on the follow-up 'The Deserter', the sensual sax really blows hard and fine, while Perry rumbles, Phillips thumping as only he can while Giltrap does a little electric ditty. Fabulous and world class tracks, a fine One-Two punch! Though 'Pastoral' may evoke some sweet musical panacea, but it actually swoops down with dense orchestrations of churning violins that introduce the gentle acoustic guitar, the spotlight firmly on Gordon's deft fingers, deeply emotive and crushingly masterful. The word 'beautiful' applies succinctly! While 'Mobio Gorge' has Edwards showing off his Moog skills within frantic ensemble and orchestra interface, Phillips steals the show with his Cobham like thunder. It serves as a fine curtsy to 'Heartsong', a fluttering masterpiece that has verve and style, though I am not a big fan of clapping hands in my music, unless it's a flamenco night in Buenos Aires! But that is just a very minor quibble as the piece has exquisite pace. Gordon has technique down big time, wow! Rapid, precise, intense and dexterous. Want proof that Phillips knows his kit intimately? Check out his technique on 'Reflections & Despair', a platform for booming drum rolls that stagger close to John Bonham territory, aided by orchestral violins that scratch mightily up front and center. Not exactly shabby on the follow-up, 'Cascade', a twirling tornado of symphonic splendor, where Perry carves like a slalom skier. Contrast that with the moody and regal 'To the High Throne', another whimsical union of acoustic guitar and orchestra, rhythm section backing nicely. 'Vision' ends the official 1973 release with a piano driven reworking of Quest, or at least a variation on the same lush theme.

Esoteric Records has in 2013 reissued with a further 4 bonus songs, totaling another 38 minutes plus extended booklet, even though Gordon hates the cover art intensely , probably because it was forced on him by the record company at the time. Great album that has ample merits and really quite original to the discerning prog archivist. Just please do not wait as long as I did!

4 Dangerous treks

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 Fear Of The Dark by GILTRAP, GORDON album cover Studio Album, 1978
3.75 | 13 ratings

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Fear Of The Dark
Gordon Giltrap Prog Related

Review by kev rowland
Special Collaborator Crossover Team

4 stars Gordon's third album in three years brings to a close the set that is often viewed as a trilogy, with the same key musicians and producers as on the previous two. The major difference here was with the songwriting, as although there are plenty of solo writes on this album, there are also some which are credited to Gordon and keyboard player Rod Edwards. Due to issues at home, Gordon decided that they needed to have somewhere to write so they rented a house in the country to do just that. Apparently this is a practice that he stills continues to this day, as he found it so relaxing to have a totally different atmosphere.

The original 8 songs have now been extended to 15, including some TV themes that were released as a single (The Waltons works really well), so there is now well over an hour of music with Gordon showing again that he is at home on electric as he is on acoustic. "Weary Eyes" is a delight with wonderful orchestration, great piano, a warm fretless bass, sympathetic drums and a choir. Who could ask for more? These three albums cemented Gordon's reputation as a performer of the highest order, yet he has still never really gained the acclaim that he should have. I don't believe that he has ever released a poor album (even his Christmas album is listenable) and these reissues by Esoteric with bonus songs makes this a great time to investigate his music.

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 Perilous Journey by GILTRAP, GORDON album cover Studio Album, 1977
4.20 | 19 ratings

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Perilous Journey
Gordon Giltrap Prog Related

Review by kev rowland
Special Collaborator Crossover Team

5 stars Like many others, the first time I came across Gordon Giltrap was when he appeared on Top of the Pops playing "Heartsong" back in 1977. I was 14 at the time, and spending much of my spare time listening to progressive rock music and trying to learn as much about the scene as possible, and I just hadn't come across anything quite like this. I was blown away with the incredible acoustic guitar which just seemed to lift and take off )I always thought it was 12- string, but according to the booklet this is a common misconception and was in fact multi- tracked six string), and to this day it is still one of my favourite Giltrap numbers. The album on which it appeared, 'Perilous Journey', was a continuation of 'Visionary' with the same production team, and the same rhythm section of Simon Phillips and John G. Perry with keyboard player Rod Edwards. Everyone was accustomed now to how each other worked and they took the ideas even further than they had previously.

The orchestration is lush, there is much more use of brass (including the appearance of some guys from the Average White Band), and it is as if the whole band has stepped up. Gordon is very much centre stage, and the additional musical elements (if there are any) add to the guitar while never detracting from it. Rod has a more important part to play on this album, and his use of mini-moog is a key part to the overall success. Even in 1977 this was quite a short album, at only 32 minutes long, but that is no longer an issue as this re-mastered reissue now clocks in at 75 minutes. A special mention should really be made of the final song, the new 'bonus' that even now causes Gordon to cringe. "Heartsong" was such a success that the label of course wanted another hit, and for some reason Gordon was convinced to cover "Oh Well". Given that the original is a classic, this was always going to be a hard ask, especially as Gordon is not a strong singer. It's probably best to just note that this is here, and instead go back to the album 'proper'.

If you want to investigate Gordon, then this is probably the album to start with.

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 Visionary by GILTRAP, GORDON album cover Studio Album, 1976
3.47 | 17 ratings

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Visionary
Gordon Giltrap Prog Related

Review by kev rowland
Special Collaborator Crossover Team

4 stars After the release of 'Giltrap' in 1973, Gordon decided that he needed to pursue a different musical path, and inspired by the William Blake he decided to go instrumental and create something that was quite different to the rest of the popular music scene. People often believe that he may have been influenced by Mike Oldfield, but although he was area of him his main influences were Vangelis and Tomita, as well as the guitarists John Williams, Julian Bream, Bert Jansch, John Renbourn and Pete Townshend. The main focus of the album would be Gordon's acoustic guitar, and he was aided and abetted by a young Simon Phillips on drums, John G. Perry on bass and Rod Edwards on piano (plus additional guests). The result was something that was quite different for the time, and to be honest more than stands the passing of time some 37 years later!

I have long been a fan of Gordon's, and have long held the belief that everyone should have 'Elegy' in their collection, and this is the beginning of the journey, the first of his albums that put him on the path of moving forward with acoustic classical guitar as the main instrument, bringing in progressive and folk elements as required. Hackett has of course also followed the path with some of his solo material, but he is he follower while Gordon was very much at the vanguard. He seems equally at home just playing solo, or double tracking against himself, with a full orchestra or with a band, and the additional bonus songs (all recorded around the period of release) definitely add to the view of the musician as a whole.

When this CD arrived in the post it was immediately put onto my iPod and I often played it late at night before going to sleep, as it is restful and exciting, vibrant and dynamic, and everything that good music should be.

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 Live At Oxford by GILTRAP, GORDON album cover Live, 1981
4.00 | 4 ratings

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Live At Oxford
Gordon Giltrap Prog Related

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars A live performance for essentially a solo guitarist always raises the question of faithful sound reproduction. For instance, GORDON GILTRAP plays both electric and acoustic guitar very well. Does he go with an additional guitarist to complement or at least not cramp his style? What of other instrumentation like sax which he occasionally hires? Should vocals be introduced for variety? On "Live at Oxford" GILTRAP makes several brilliant choices - hiring a competent backing rock band, continuing to play all guitars himself, engaging a female vocalist, and utilizing keyboards and vocals to fill some of the additional guitar and brass sounds. How he implements these decisions results in a show and a resulting album that plays to his strengths while rendering his shortcomings moot.

In some sense this virtuoso's work is best suited to the live setting, since his primary talent is in playing and, to some extent, arranging, as opposed to composition. Luckily his skill is exposed in a measured fashion throughout. The main source of material is "Fear of the Dark", the most recent album at the time of the concert, and it would be hard to imagine that those tracks represented here are not more fully realized than the studio versions. This is especially the case for the epic "Visitation" and the suspenseful "Fear of the Dark", both of which benefit from the sultry expressive vocals of SHIRLEY RODEN. Still, the best example of this adaptive spirit and of Roden's power is in "The Deserter"; originally an instrumental on "Perilous Journey", it is re-invented as a spacey lyrical piece with Roden's vocals replacing sax and some pointed guitar leads. I had never heard of Roden so has to look her up, and found that her limited credits include several prog artists including MICHAEL MOORCOCK, MIKE OLDFIELD and DAVID GILMOUR.

As is standard for Giltrap, none of the material or the performances are weak but here the energy of the live setting and the commitment to the team concept contribute equally to what could be the most suitable introduction to Gitrap for prog fans. I have not heard the prior three albums in their entirety but "Live at Oxford" seems to be cut from a different cloth.

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 Ravens & Lullabies (Gordon Giltrap & Oliver Wakeman) by GILTRAP, GORDON album cover Studio Album, 2013
3.68 | 16 ratings

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Ravens & Lullabies (Gordon Giltrap & Oliver Wakeman)
Gordon Giltrap Prog Related

Review by kev rowland
Special Collaborator Crossover Team

4 stars It has been quite a while since I have heard new music from either Gordon Giltrap or Oliver Wakeman, so I was very intrigued indeed when I saw that this album had been released. Gordon is arguably Britain's finest acoustic guitarist, and his album 'Elegy' is so beautiful that it should be in every music lover's collection. Oliver on the other hand is probably more well known for being his father's son than for his own music, which is not right at all. The two albums he recorded with Clive Nolan are wonderful, with 'Hound of the Baskervilles' being indispensible, and the last album of his that I heard, 'Mother's Ruin', is also worth investigation. So, given what I knew of the background of these guys I expected to have an album full of acoustic guitar and piano/keyboard interplay and while there is some of that, there certainly isn't as much as I expected.

Although there are times, especially on the second disc, when it is just Gordon and Oliver there are others where it is a full band. Karl Groom has produced the album, and it is his Threshold colleague Johanne James who provides drums, while Paul Manzi (Arena, Oliver Wakeman Band) and Benoit David (Mystery, and of course he was with Yes when Oliver was with them) provide vocals, while Steve Amadeo provides bass. I have only really thought of Gordon as playing acoustic guitar but he does also venture onto an electric while Oliver of course provides all manner of keyboards.

The album is fairly fractured in the sense that some numbers are beautiful instrumental duets while others are more band based and prog/AOR but instead of coming across as a jumble of ideas the result instead is one where each style stands up very much in it' own right but also provides a stronger emphasis on the others than it might otherwise have had. It is an album of delicacy and beauty, something that showcases the instrumental prowess of all involved without saying "look at me, aren't I clever?". Over the last few years I have listened a great deal to Wakeman senior's work, an d was lucky enough last year to catch him at a piano concert here in NZ, and his style has obviously rubbed off on his son as there are times when Oliver's pianowork is just like his dad's, but it all adds to the joy of what is a wonderful album.

The version I am listening to has an additional disc that contains some additional in concert and studio work and the in concert material which feature sonly Gordon and Oliver is actually what I expected the whole album to sound like before playing it, acoustic music that combines and interplays as two great musicians create something of beauty. Overall this is a wonderful album, and I can only hope that they decide to take this journey further and record together again. For more details visit www.esotericrecordings.com

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 Troubadour by GILTRAP, GORDON album cover Studio Album, 1998
3.02 | 3 ratings

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Troubadour
Gordon Giltrap Prog Related

Review by kev rowland
Special Collaborator Crossover Team

4 stars This album may see Gordon receive more publicity than normal as Sir Cliff makes an appearance (although it is difficult to identify his voice, it must be said). Gordon has been performing in Heathcliff for its' duration, and he has adapted a couple of the pieces he co-wrote for that musical for this album.

This is Gordon at his best, normally just accompanying himself with some of the best acoustic guitar that can be currently heard in the UK. I particularly liked "Rainbow Kites" where he has used the simple device of having a 1 second delay on the guitar so that it sounds like two top guitarists playing with each other. Gordon experiments with different techniques and tunings but never moves away from the delicate beauty that is his trademark.

Buy the CD and get another free!! As well as the 'proper' album there is another CD that contains purely acoustic versions of all of the songs. Gordon at his most pure. I have always rated his work but for me this stands alongside 'Elegy' as his best album to date.

Originally appeared in Feedback #66, Feb 02

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 Ravens & Lullabies (Gordon Giltrap & Oliver Wakeman) by GILTRAP, GORDON album cover Studio Album, 2013
3.68 | 16 ratings

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Ravens & Lullabies (Gordon Giltrap & Oliver Wakeman)
Gordon Giltrap Prog Related

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Guitarist GORDON GILTRAP appears to have an "in" with the WAKEMAN family, having collaborated with the patriarch in the past, including a 2009 album, and following it up in 2013 with OLIVER. My only prior exposure to Rick's eldest son was through his respectable performance on STRAWBS' last studio release "Dancing to the Devil's Beat". "Ravens and Lullabies" is similar to that effort in the sense that Wakeman's flourishes tend to be tasteful and complement the other instrumentation rather than co-opt leadership. Where it differs, to its credit, is in being a true collaboration, with both artists participating in generally thoughtful songwriting and dividing musical labours more or less down the middle. The inclusion of PAUL MANZI scales the vocals to the same elevation as the music.

This is a superb crossover prog album with symphonic, folk, and neo prog adornments, which is apparently a return to this genre for Giltrap after decades in a purely folk realm. It brims with emotional lyrics, intoxicating melodies, and pellucid production. "Moneyfacturing" is a born opener driven by a 12 string attack and acerbic lyrics. "From the Turn of the Card" includes BENOIT DAVID, ex of YES, on guest lead vocals and its initially awkward lyrics are quickly forgotten by the time the vibrant chorus enters. I assume "LJW" is dedicated to a Wakeman, perhaps Oliver's other half, and its essentially a marvelous piano solo filled in by delicate acoustic guitar. "Maybe Tomorrow" is a radiant PENDRAGON styled ballad driven primarily by voice and Giltrap's acoustic guitar. "Wherever There was Beauty" reprises the style of Giltrap's late 1970s olde Englishe instrumentals but with amelioration in orchestration thanks to Oliver.

Other highlights include the jaunty piano led "A Perfect Day", which blends the folk and classical roots touchingly; another optimistic ballad "Anyone can Fly" and the closer "Ravens will Fly Away", both of which count the two gentleman as partners in every aspect. The latter reminds me of ELTON JOHN at his best, or maybe the gentler solo work of DAMIAN WILSON.

"Credit Carnival" has the foreboding aspect of the orchestrated studio version of the BARCLAY JAMES HARVEST classic "Medicine Man", or early ALAN PARSONS, but with blazing keys that clearly set it apart, and surprisingly heavy guitars. It presents as a companion to "Moneyfacturing". But the most absorbing track is by far the longest, that being "Is this the last Song I write", a song within a song that lays bare the artist's insecurities in a manner not heard since STRAWBS' "Hanging in the Gallery". You are only as good as your last concert, your last album, your last autograph, and you cannot know your legacy during your lifetime. Perhaps the most triumphant aspect of this relatively complex and gratifying piece is how it avoids sounding self important or melodramatic. It is relevant for anyone who strives for any achievement in life, in whatever form, especially if one loves one's work and derives a degree of self esteem from it. From a well arranged gentle song it transforms into a more enigmatic rocker and back again. The only constant is attention to detail and emphasis on inducing receptivity to the album's title theme through the melody and arrangements.

While clearly influenced by all the aforementioned artists and many others, this association by two of the the best in their fields paradoxically yields far more than it has any right to, which ought to be a testament to the purity of the motivations of Mr Giltrap and Wakeman. They are even going on tour. Whether the lullabies put you at ease or the ravens set you on edge, they are who they are, and they know themselves.

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 Airwaves by GILTRAP, GORDON album cover Studio Album, 1982
3.02 | 3 ratings

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Airwaves
Gordon Giltrap Prog Related

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars Again surrounding himself with names from the social register of progressive rock, GORDON GILTRAP barely misses a beat in his successor to "The Peacock Party". Here, however, he loosens the reins paradoxically helping the band to tighten up, and "Airwaves" is therefore a more eclectic group effort, while still providing a forum for Giltrap's relatively unambitious concepts.

The pieces on "Airwaves" skirt the imaginary boundary between adult contemporary instrumental, light jazz, and crossover progressive rock, with English folk, while still high in the mix, taking a back seat a little more often. Nothing here is far above or below average, and as such it can be enjoyed to varying degrees from beginning to end, the credits outweighing the debits. I hear more of a CAMEL influence before, especially in the lively opener "Black Lightning", and the sultry "Lost Love", with Latimer like gentle lead guitar and Mel Collins-like sax by Bimbo Acock. Just to drive the point home, Giltrap presents a trilogy entitled "The Snow Goose" to close off the album. It's mostly a forum for his acoustic guitar and sensitive orchestration. The lovely piano oriented "Dreamteller" pulls a page from the Pete Bardens' playbook, but also recalls Camel's early 1990s period. The title cut is one of the more progressive with a lot of thick bass action and lead guitar and synth fills over a catchy beat.

This is not likely to come across over any local or internet airwaves with much regularity, but, provided you have a tolerance for the mellow, the pedigree, technical skill and synergy of the players all justify your attention for a spin or two over a much more intimate airspace.

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Thanks to dean for the artist addition.

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