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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 60's, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansoniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and THE STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, THE TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY (all listed in the ProgArchives) but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, TIR NA NOG (all of whom could also be in the ProgArchives) were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 77's Songs From The Woods and 78's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHEUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and EL CONGRESSO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansoniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as RIBEIRO ALPS, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine

Current Team as of January 1, 2015

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Prog Folk | More Top Prog lists and filters

4.63 | 2759 ratings
THICK AS A BRICK
Jethro Tull
4.33 | 2133 ratings
AQUALUNG
Jethro Tull
4.16 | 1158 ratings
SONGS FROM THE WOOD
Jethro Tull
4.20 | 267 ratings
ALTURAS DE MACCHU PICCHU
Jaivas, Los
4.40 | 59 ratings
ERWARTUNG
Eden
4.14 | 452 ratings
FIRST UTTERANCE
Comus
4.20 | 165 ratings
ST. RADIGUNDS
Spirogyra
4.15 | 270 ratings
GRAVE NEW WORLD
Strawbs
4.12 | 507 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.17 | 182 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.15 | 263 ratings
HERO AND HEROINE
Strawbs
4.55 | 30 ratings
LUCAS
Araujo, Marco Antonio
4.05 | 1008 ratings
STAND UP
Jethro Tull
4.07 | 257 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.16 | 96 ratings
BASKET OF LIGHT
Pentangle, The
4.14 | 109 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.02 | 1199 ratings
A PASSION PLAY
Jethro Tull
4.02 | 939 ratings
HEAVY HORSES
Jethro Tull
4.13 | 101 ratings
EZEKIEL
Itoiz
4.00 | 974 ratings
MINSTREL IN THE GALLERY
Jethro Tull

Prog Folk overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Prog Folk experts team

THE FLIGHT OF THE PHOENIX
Sad Minstrel
GEOFFROY
Emeraude
TALES OF THE RIVERBANK
Dancer
GENTLE SOUL
Gentle Soul, The

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Latest Prog Folk Music Reviews


 Macalla by CLANNAD album cover Studio Album, 1985
4.56 | 6 ratings

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Macalla
Clannad Prog Folk

Review by CapnBearbossa

4 stars Clannad were embarking for new musical frontiers in 1985 with Macalla, although it would be tough to nail that down as to category. This disc boasts a couple of first-time collaborations, both with Bono (of U2) and also with Mel Collins (of Camel and King Crimson fame). The partnering of Maire Brennan's usual vocals with those of guest Bono on "In A Lifetime" speaks to the group's leaning a bit more toward rock music than they had before, whereas their inclusion of Collins on various tracks indicates they were also making a stab in a proggy direction. (Even if we're talking perhaps of an 80's style pop/synth version of progressive rock along the lines of Marillion's Misplaced Childhood, published the same year).

Although as an Irish folk group Clannad been around since the early 1970's and were already acclaimed in their own homeland of Ireland, they'd just recently garnered sudden, huge international attention for the beautiful and ethereal soundtrack tune, "Theme From Harry's Game" . In a curious turn from those beginnings, they then made Macalla with as close as they would ever get to a straight-ahead, bare-bones, soft rock sound. It is worth noting that Clannad's previous albums had mostly been anchored in tasteful folk-rock arrangements of ancient Irish ballads and jigs, though they sometimes -- seemingly very cautiously -- could be caught approaching the world of jazz-rock jams and with their own compositions at various points between.

We still get a bit of the traditional Irish angle on this record in songs such as "Caislean Oir" and "Buachaill On Eirne", with lead vocalist Maire Brennan singing in that almost-extinct, ancient Irish language still spoken by the band members (understandable since they are all part of the same extended family and live in the Gaeltacht). Meanwhile, we're serenaded variously by gentle saxes, acoustic guitars or synth melodies, against atmospheric and gentle sonic backdrops. But elsewhere on this record, there are frequent and sometimes brash leaps into synth rock territory, occasionally maybe sounding a little cheesier than one would like, despite good hooks and a constantly solid sense of melody. In any case however, Maire is an adept lead vocalist who always manages to bring proceedings back to earth, albeit sounding all the while like an angel.

I would call this record a conditional success - certainly enjoyable by an audience tolerant of Celtic-edged pop and soft rock tendencies. But, if you're expecting anything approaching hard rock or edgey prog, well, you might be better off leaving this alone.

Clannad albums before this one are a bit more idiosyncratic (uneven in their production and style, though more even in terms of being very soulful, inspired, and very competently composed and performed). If you are looking where to go after or instead of Macalla ... Be advised that 1987's Sirius strayed briefly in a hard rock direction, trying out collaborations with already established stadium rock acts (Bruce Hornsby and Steve Perry of all people!); and then, with Anam and other efforts in the 1990's the band backed off again into the realm of introspective, mellow, but well-produced albums of airy Celtic ballads and soft jazz. Macalla, though, is probably the most accessible for someone sampling the work of this celtic folk/rock/pop combo if coming, say, from a soft rock, pop, or adult contemporary listening background.

 We All Raise Our Voices to the Air by DECEMBERISTS, THE album cover Live, 2012
3.09 | 7 ratings

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We All Raise Our Voices to the Air
The Decemberists Prog Folk

Review by Prog Leviathan
Prog Reviewer

3 stars Indie/folk darlings offer up a proper live album to showcase their infectious blend of playful, anachronistic, and gentlemanly rock music. The whole affair is a jaunty and lively experience, well-played and soulfully sung. However, and it's sort of a big however, the group's sound has difficulty capturing the same level of depth and texture that we hear throughout their studio work. Instead, the songs feel more riff heavy and electric than we're used to. Not necessarily a bad thing, considering that this live set-list is meant to get your toe-tapping, but in general it doesn't sweep one up as much as I would hope.

The songs emphasize the newly released King is Dead, with some dabbling primarily from Picaresque and Crane Wife; effective selections overall, though if you're looking for something as sensitive or artistic as you heard on Hazards of Love, you won't hear it. We All Raise Our Voices to the Air has a crowd-pleasing, festival feel, and is more concerned with creating a fun concert experience than it is with reveling in the antique and finely crafted sound that the band produces in the studio.

Definitely check it out if you're interested in seeing a slightly heavier side of a legitimately good indie/folk band.

Setlist: 3 - Instrumental Performances: 3 - Stage/Energy: 3 - Live Experience: 3

 Zartong by ZARTONG album cover Studio Album, 1979
4.00 | 10 ratings

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Zartong
Zartong Prog Folk

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Zartong were a quartet of Armenian musicians who moved to France and released a self-titled debut album before promptly vanishing in the late 70's, and a fascinating and unpredictable prog curio it turned out to be! A mostly instrumental work that jumps in all sorts of directions, prominent spacey synth-driven symphonic prog moments suddenly give way to plentiful folk interludes and Turkish flavoured diversions, electronic ambience, Zeuhl weirdness, jazz-fusion fire and poppier vocal breaks (not to mention some dreaded yet unsurprising light disco elements due to the era it arrived in!). The album has a distinctive and very unique sound due to two of the musicians playing a santour (an Iranian instrument similar to a zither) and a kamancha, a type of oriental violin.

`Zartong' is made up of thirteen different tracks, some little more than sketches of ideas or bridges to lengthier compositions. After opening with an atmospheric introduction on those above two mentioned obscure instruments, fuzzy heavy guitars and a funky dancing beat enter in the two-part `Dzamone' with a boisterous repeated vocal. The rest of the first side is comprised of `Parhelie', `Prosopoee' and the two-part `I Verine' that form a continuous piece, beginning as an ethereal ambient breeze that reveals desolate Middle Eastern dustiness, constant grumbling bass that takes on an almost swallowing distorted Zeuhl quality, sighing wordless harmonies and unceasing spacey synths.

Those chiming violin and zither-like ripples dance through the spirited Turkish-flavoured folky jigs `Toy Narguiz' and `Kele Kele' powered by grumbling Zeuhl bass, inviting group vocals and rattling drumming. The two-part call-to-dance jig `Armenian Hore' bookends the dreamy `Dele Yaman', violin and santour glistening with fragility over restrained veils of floating synths and weary vocal pleading, and `Hoy Nazan' is a joyous instrumental rocker to close on.

The production is rough and inconsistent with occasionally noticeable distortion, and the constant direction and style changes will likely annoy and fascinate different listeners in equal measure, but there's instantly obvious great skill in the musicians, and there's definitely ideas present that Turkish group Asia Minor would perfect on their classic `Between Spirit and Divine' album a year later. But `Zartong' is a dignified, frequently joyful album full of atmosphere and wonderful playing, and it's a shame we were only left with this one teasing little 35 minute album from a talented group so full of potential.

Four stars.

 Kahden Kuun Sirpit by VIIMA album cover Studio Album, 2009
3.93 | 27 ratings

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Kahden Kuun Sirpit
Viima Prog Folk

Review by maryes

3 stars Although receive in PA a slightly better rate than their previous album "AJATUKSIA MAAILMAN LAIDALTA", I think which "Kahden Kuun Sirpit' , stay quite faraway from the excellence demonstrated in the first album ! In my opinion this album shows an approximation of symphonic prog in detriment to prog folk style, so that this approach "turns pale" the features that call me atention in their first album (Review #1579897 Posted Saturday, June 18, 2016 ) "the use of strong electric guitar melodies and some synthesizers", besides this the change of vocals don't be pleasurable to me : minus due the change ( female to male) and more for Hannu Hiltula's vocal timbre. So, this fact make this album turns ONLY A GOOD symphonic-prog album, without greater attractions !!! My rate is 3 stars !!!
 Ajatuksia Maailman Laidalta by VIIMA album cover Studio Album, 2006
3.75 | 35 ratings

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Ajatuksia Maailman Laidalta
Viima Prog Folk

Review by maryes

4 stars 4,5 stars, really !!! AJATUKSIA MAAILMAN LAIDALTA, excellent work from this Finnish band VIIMA. and without trace of doubt one of the best prog folk albums from early 80's. Their sound is a little different of majority of bands of the style, because includes in their arrangements some unusual features as for instance, the use of strong electric guitar melodies and some synthesizers. Unavoidably comes comparations with bands of the style like RENAISSANCE ( due to female vocals and some acoustic piano parts ) , Jethro Tull ( in the electric guitar riffs and some rhythm sections ) and CAMEL ! I simply cannot detach any track, because the album besides be full of very original are very close to perfection ! My rate is 4 stars !!! With a a great dose of admiration !!!
 Nature Unveiled by CURRENT 93 album cover Studio Album, 1984
4.28 | 10 ratings

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Nature Unveiled
Current 93 Prog Folk

Review by buddyblueyes

4 stars Call a priest and pray whatever demon just entered your body can be exorcised!

I remember waking out of my sleep at night as a child. I was deep under the sheets and I made a slight peep hole out of the covers so just my one eye could see into the bedroom, pointed at the door where a ghastly nightlight hesitantly illuminated into my room ever-so-slightly. I stared deep at that light, quiet and alone waiting for the prospect of sleep. I shut my eyes, briefly hoping I could get carried off into some Neil Gaiman wonderland. After a few moments I knew sleep would not come so I opened my eyes. Staring back at me was an eyeball! It blinked once. That's all it took. I pulled the peep-hole down and slid my head under the pillow. I started shaking and sweating. This was my first experience I remember with deep, deep fear.

The second was watching The Exorcist in the basement of my parents house alone. They went off to enjoy a New Year's Eve Party. I had to stop the movie three times and call my friend to distract me from the utter fear I was feeling every time the priest got ready to enter that room.

Later, I grew to love the horror genre. A diet of A Nightmare on Elm Street, Texas Chainsaw, The Thing, The Hills Have Eyes, Fright Night, Night Of The Demons, Return Of The Living Dead and many classic horror movies of the 80's were consumed.

Current 93's Nature Unveiled is probably the scariest thing I've heard in music. Goblin's Suspiria is a distant second. Nature Unveiled probes undisciplined sonic exploration. Weird percussive sounds, strangely engineered pyschobabble, and haunting chaos is in abundance. It's a soundtrack for whatever masterpiece Dario Argento felt wasn't ready to be released into the world. Check it out at your own peril.

 The Bear's Revenge by MOULETTES, THE album cover Studio Album, 2012
4.86 | 5 ratings

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The Bear's Revenge
The Moulettes Prog Folk

Review by JimC

5 stars The Moulettes in this incarnation are a predominantly acoustic five-piece, dominated by superb vocal harmonies, cello, bassoon and violin, with excellent support from the rhythm section. The album starts with a single lone high note followed by gentle picked guitar and melodic vocals. Then a bodhran picks up the rhythm for a repetition of the main theme, while the chorus is driven by punchy harmonies, drums, acoustic strumming and handclaps, ending with a low moody cello line. The rest of the song is marked throughout by weaving violin lines and other well-placed instrumental flourishes from the whole band - 'a symphony of colour and sound' as the song says, and pretty much setting the scene for the whole album. Other highlights include 'Uca's Dance', 'Songbird' and the wonderfully progressive 'Unlock The Doors' - one of the most exciting and energetic pieces I've heard in a long time.
 Crystal Phoenix by CRYSTAL PHOENIX album cover Studio Album, 1989
2.78 | 12 ratings

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Crystal Phoenix
Crystal Phoenix Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars At the core of so much progressive rock is an adventurous spirit, shunning reality in favour of larger than life fantasy, in much the same way as fantastic literature and science fiction. As fans of the style, we welcome themes that transport us into a less mundane reality than our own or even that of the rich and famous, and are quite fine with the "pretentiousness" tag that such excursions invite. It's a badge we wear with courage and honour, much like the epic heroes who do not flinch in commitment to duty against the forces of darkness. Grandiose as the story lines may be, even spanning multiple releases, the productions need not be lavish, and in fact rarely can be given the financial constraints of the modern era.

The works of Myriam Sagenwells Saglimbeni, or CRYSTAL PHOENIX manage to conjure a majesty that is disproportionate to their budget. This debut is barely 30 minutes when stripped of its "bonus" cuts, but manages to bridge some of the Japanese prog of the 1980s to ancient folk and symphonic yardsticks of the 1970s. In its quieter moments, as in the harp enriched "474 Anno Domini" and the acoustic guitar and flute led hymn "Somewhere Nowhere Battle", it presages BLACKMORE's NIGHT, but the heavier pieces with crunching organ and rhythm and lead guitar unleash far more aggression than that band ever would. Myriam's voice can accommodate both styles occasionally in the same movement, notably on "Heaven to a Flower" and "Dark Shadow". The compromises that she makes tend to be in favor of overall simplicity and sense of mystery, which was wise given the operating environment.

It's always bittersweet to hear albums like this, true labors of love that reach for "classic status" but fall short of those lofty ideals for reasons that are largely beyond the artists' control. Recommended for fans of fan fantasy and folk with a few shards of shred woven in. Crystal clear?

 Preternatural by MOULETTES, THE album cover Studio Album, 2016
4.07 | 5 ratings

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Preternatural
The Moulettes Prog Folk

Review by Terakonin

4 stars The Moulettes' last album was the haunting and otherworldly Constellations, a collection of avant-garde folk tunes that included some of their best songs. This new album never reaches the highs of songs such Lady Vengeance or Between Two Mirrors, both from Constellations, but the batting average is higher. The album kicks off with old American radio samples that lead into pounding rhythms, and what follows is forty-five minutes of distorted backing vocals, cello runs, three-part harmonies and excellent melodies. New member Raevennan Husbandes' vocals and electric guitar are a welcome addition, and she makes this the heaviest Moulettes album to date by far and contributes her talents to this sharp collection of songs. Most importantly, with Constellations and now Preternatural, the Moulettes have cultivated a startlingly unique sound in an era where most styles of music have been thoroughly investigated.
 Gryphon by GRYPHON album cover Studio Album, 1973
3.33 | 163 ratings

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Gryphon
Gryphon Prog Folk

Review by ALotOfBottle

4 stars Gryphon was formed in the early seventies, soon after two graduates of Royal Academy of Music, a multiinstrumentalist Richard Harvey and a woodwind player Brian Gulland, met, finding a mutual approach to music. The duo played a few local concerts and were soon joined by a guitarist Graeme Taylor and a drummer and percussionist Dave Oberlé. In March of 1973, the quartet entered the studio to record the first tracks for what would become their self-titled debut album, which was released in June of the same year under the Transatlantic label. The cover art, portraying a mighty, masculine creature, half an eagle, half a lion, Gryphon, was designed by Transatlantic's artist, Dan Pearce.

Since its very first days, Gryphon's aim was to put the original English folk of the middle ages and renaissance into the framework of modern folk music, reminiscent of the sixties folk revival, artists like Bert Jansch, John Renbourn, and even Bob Dylan. The results are absolutely charming. The interplay of a wide plethora of instruments like recorders, flutes, crumhorns, a bassoon, a mandolin, a guitar, a harpsichord, a harmonium, organ, and various percussion instruments gives the album a rich, majestic sound. Furthermore, Gryphon is dripping with cascading, labyrinthine arrangements. Everything, as technical and sophisticated as it could be, is often executed in a tongue-in-cheek manner. All these elements do not give an impression of overabundance. Everything seems to have its own place in the musical layers, while the minimalistic factor makes Gryphon's material sound authentic. The emotion, character, spirit, and atmosphere of this album are dense enough to fire up listener's imagination and put their "alter ego" on a busy street of the 14th century London. With this release, Gryphon created an image of medieval troubadours with incredible instrumental skill.

What undoubtedly shaped Gryphon's sound to a high degree, was its members' classical training. The previously mentioned variety of wind instruments works in favor of the band's unique sound. The instruments are played with great precision and passion. Dave Oberlé's percussion playing is versatile, he finds himself incredibly proficient in rapid rhythmic play on many types of drums at once. While a good most of folk bands at the time usually used two acoustic guitars, Gryphon only needed one - Graeme Taylor's traditional, percussive style covers all guitar parts needed. Harmony vocals, which play a crucial role in the band's sound, range from deep, washy bass, to baritone, to a high, tounge-in-cheek, almost Monty Python-like countertenor.

The album opens with an instrumental piece "Kemp's Jig". Although the title suggests so, this is not a jig in the traditional meaning of the word. Nonetheless, it proficiently sets up the right atmosphere for the rest of the album. "Sir Gavin Grimbold" is the most comedic of the songs, telling a story of an adventurer, who set out on a journey never to be seen again. "Three Jolly Butchers" is quite similar in appeal, showcasing the fantastic harmony vocals of the band's members. "The Unquiet Grave" is less cheerful than the previous tracks, with its meditative, pastoral feel. "Juniper Suite" is in fact not a suite, but only a five minute track with great interaction of various wind instruments and a moody harpsichord. "The Devil and the Farmer's Wife" is another comedic, short-format story song, which closes the album with a quick allusion to Scott Joplin's "Maple Leaf Rag" on harmonium.

Gryphon are most often associated with their instrumental 1974 release Red Queen to Gryphon Three, which showcased the more classical-oriented, electric folk sound. However, just one year before that, the group had recorded their all-acoustic self-titled debut. It could shortly be described as an incredibly moody take on music of the middle ages and renaissance. The album is an incredibly pleasing journey through medieval England and should be a pleasing experience for folk fans! Highly recommended!

Data cached

Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
A PRESENÇA DAS FORMIGAS Portugal
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
ALVA Multi-National
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTONIO ARAUJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
BRAN (BRÂN) United Kingdom
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
VASHTI BUNYAN United Kingdom
C.O.B. United Kingdom
CAEDMON United Kingdom
CALIBAN United States
CÁLIX Brazil
CAMELIAS GARDEN Italy
CAN AM DES PUIG Multi-National
CANDIDATE United Kingdom
CANO Canada
CANZONIERE DEL LAZIO Italy
MARCELLO CAPRA Italy
CARMEN United Kingdom
CARNASCIALIA Italy
CAROL OF HARVEST Germany
GIAN CASTELLO Italy
PHILIPPE CAUVIN France
CHAC MOOL Mexico
CHALIBAUDE France
CHERCHE-LUNE France
CHIMERA Netherlands
CHRYSALIDE France
CIRCULUS United Kingdom
CLANNAD Ireland
CLOGS Multi-National
COMUS United Kingdom
CONGREGACION Chile
CONGRESO Chile
CONNIVENCE Canada
CONTRALUZ Argentina
CONVENTUM Canada
CORDE OBLIQUE Italy
DAVE COUSINS United Kingdom
CREMATORIUM Russia
CRYSTAL PHOENIX Italy
CRYSTAL THOUGHTS Greece
CURRENT 93 United Kingdom
DAEMONIA NYMPHE Greece
DANCER United Kingdom
DARNAKES Greece
DAWNWIND United Kingdom
DEAD CAN DANCE Australia
DECAMERON United Kingdom
THE DECEMBERISTS United States
DEMI-HEURE Canada
DETEKTIVBYRĹN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
DUN AENGHUS Multi-National
DUNWICH Italy
JUDY DYBLE United Kingdom
EDEN Germany
ELANE Germany
ELFONIA Mexico
NANCY ELIZABETH United Kingdom
EMERAUDE France
EMTIDI Germany
ENBOR Spain
ENGEL (MIGUEL ANGEL DE LA LLAVE JIMENEZ) Spain
L' ENGOULEVENT Canada
RÓBERT ERDÉSZ Hungary
ERGO SUM Chile
ERROBI Spain
ESPERS United States
ETERNIDAD Argentina
LA FAMIGLIA DEGLI ORTEGA Italy
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