Gravy Train - George Harrison - Dark Horse Radio Special (Vinyl, LP)
Evans wrote the lyrics for the last two verses. Godfather also includes the single edit. The production on much of the songs forced them into soft adult rock and, on a couple of the songs, disco. It is packaged in a tri-fold cardboard gatefold LP) with excellent liner notes and detailed recording information.
If you liked this review, buy me a cup of joe. You must be logged in to post a comment. The band had been unhappy with producer Jonathan Peel's work on the first three albums — specifically the records' sound. Under his control, the band was a happier unit and felt their potential was at last being realised.
Dawn records released it in the late summer of Staircase to the Day was recorded at the Manor Studios, Kinnerton, Oxford and came wrapped in a colourful Roger Dean -designed gatefold sleeve depicting a winged-space monster descending onto a cosmic landscape. It kicked off with one of Gravy Train's best-known Dawn Cuts, "Starbright Starlight", anthologised in various progressive samplers and compilation albums.
Marcel Coopman again citing Vernon Johnson described it as "a blistering piece of melodious hard-rock, that sets the standard for similarly inclined music though not many may have heard it, of course.
The band was now a five-piece outfit with second guitarist George Lynon having joined before the sessions. Drummer Russ Caldwell replaced Barry Davenport after he left due to ill health. However, music equipment stolen from their van now resulted in disillusionment — "a huge setback", in Hughes' words. At this stage, he explained, "I became more involved in cabaret bands, only occasionally meeting the others for Gravy Train gigs.
By the time we did Staircase to the Daywe were all playing in other bands. However, we never 'fell out' with each other and still enjoy each other's company on the rare occasions we get in touch. Gravy Train went through another line-up change with the departure of D.
But lack of commercial success, internal frustration, and financial losses meant the end for the band. Instead of being part of a revival of fortunes, "Climb Aboard the Gravy Train" had signalled a death-knell. Little is known about the subsequent lives of the band members. Barratt appeared in Mandalaband for their second and final album inthen went on to form the Barratt Bandwhich recorded two albums in the early s and two solo albums Rock for all Ages with Dave Morris, and Barratt He died in from post-surgery complications.
Les Williams has been working at Ocean Entertainments, an agency for bands and acts, since the s. D Hughes is currently the founding member of The New Soul Messengers, in which he plays keyboards, saxophone, and vocals. George Lynon died in his sleep in From Wikipedia, the free encyclopedia. This article does not cite any sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Musical artist. For the punk band, see Gravy Train!!!! Authority control. The third song "Jule's Delight" really is a delight to listen to. It's a gorgeous flute-driven melody floating on a symphony of sensational strings. This dramatic music might not quite reach the sublime heights of "Nights in White Satin" or a "Whiter Shade of Pale", but it's a marvellously-rich, mellifluous melody that's best listened to at night between silken sheets of pale satin - preferably with a romantic partner for company.
It's a proggy and playful flute-driven song but with a powerful anti-war message contained within the lyrics:- "Messenger swift, Won't you tell me the words that you carry, Stop for a moment and lie with me, I pray you'll tarry, Five more young men who'll never be able to marry, How long will this war last before you die too?
Before you die too? The sound of the flighty flute in the opening brings to mind the merry minstrel Ian Anderson standing on one leg with flute in hand, but it's really another dark tale about the horrors of war.
Don't get too downhearted though, because there's a splash of vivid psychedelic colours in a wild Gravy Train - George Harrison - Dark Horse Radio Special (Vinyl unrestrained fuzz-toned guitar jamboree for the golden grand finale.
The next song, "Can Anybody Hear Me? Everyone can hear him sing this song, including the neighbours, if you play this music LOUD like it's meant to be played. Again, the music sounds like Jethro Tull, but this is Jethro Tull given a burst of high-energy, foot-stomping adrenalin.
This is heavy-duty rock wearing Doc Marten boots, a hard hat and a yellow fluorescent jacket. Next up is "Old Tin Box" which rattles nicely along like It's an upbeat and up-tempo Jazz-Rock number featuring the soaring sound of a saxophone. The steady rhythmical beat is redolent of a train rattling down the tracks, so make way because this is no gravy train - this is more like an unstoppable diesel locomotive going full speed ahead.
There's no let-up either for "Won't Talk About It", because this is another hard-rocking song with a take-no-prisoners attitude. It's raw and aggressive Blues-Rock where the singer sounds like he's had a bad day, but he doesn't want to talk about it, so stay out of his way.
There's no doubt about it, "Won't Talk About It" is the Gravy Train - George Harrison - Dark Horse Radio Special (Vinyl song on the album by far. Think of Deep Purple with a flute, and that's the powerful song we have here. We're "Home Again" now for the final song on the album, which has something of a tribal native American rhythm to it, so it might just be time to get out the peace pipe and do a rain dance before returning "Home Again" to the comfort of the wigwam for the evening.
Gravy Train have really surpassed themselves with this marvellous melange of music, featuring big romantic orchestral numbers on Side One and hard and heavy rockers on Side Two.
Their first album was pretty good, but they've gone one better with this album by incorporating some lovely sweeping string arrangements, giving the music a rich orchestrated fullness. This superb second album should have put them on the gravy train to success, but sadly, it wasn't to be.
They were just one of many promising British prog bands who fell by the wayside in the early 's, but on a brighter note, they stuck around just long enough to record four great albums, which have now been given a new lease of life thanks to the modern wonder of the Internet. I can't help finding the choruses of 'yeah' and the uttering of the words 'Starlight, starbright' corny. Yet on this track the band has made a considerable achievement; they have captured the spirit of Yes in a slightly harder, more driving fashion with a lower-register vocal.
I actually have met Jon Anderson haters, who unlike devotees like myself, find his sweet countertenor sickening rather than angelic.
Even the best vocalists have their detractors; a few people find Bruce Dickinson annoying, as well. Gravy Train's biggest claim to notoriety could very well be their uncanny ability to emulate Yes without parroting, not an easy feat. On a couple tracks Norman Barrett's voice seems a bit gravelly and hoarse. This is just simply irritating. Furthermore some tracks seem lightweight and contrived. This is the case, for instance, on 'Bring my life on Back to Me.
I have always thought piano is difficult instrument to integrate into prog. Beckett and Journey succeed marvelously in my estimate. Too bad because its message is pretty grave, it appears from a peak I was finally able to take at the lyrics. Some tracks capture the blues-based escapades of the debut but don't fully reach that level of mood and nuance. Some tracks like the title piece have the complexity, introspection and build of tension I look for in a prog.
By all measure 'Staircase to the Day' is a remarkable, intricate epic, the likes of which most bands would be pressed to achieve. Gravy Train brews up a cauldron of spellbinding instrumental magic in the jam following the main theme of 'Busted in Schenectady. Then suddenly LP) the eleventh hour, this record goes places and how! And just when it's getting good and really grooving, it ends! The band could have run with that rollicking vibe another couple minutes.
Later on the song becomes more cookie cutter and rambly with the addition of harmonica and lack of any new motifs to move it beyond the blues formula. And the band insists on droning on over six minutes for no clear reason.
A soaring and fluid sax does furnish some additional focus. The amateurish sounding vocal enters briefly late in the song and very well could have been omitted altogether for better effect. Laughter and snippets of conversation near the beginning of "Enterprise" lay down a playful mood. This counterbalances the forceful and intense main theme on flute and drums. This very tight jam well contrasts to the introspective, thumping vocal theme. Though some Gravy Train - George Harrison - Dark Horse Radio Special (Vinyl undoubtedly find the lyric forced, to me it's so hyperbolic as to be sublime, a case of the cheesier the better.
Not easily dismissed is the perfect proggy flute accents.
Part Two - Exus - Dimensional DJ (CDr, Album), Amy MacDonald - Love Love UK & European Arena Tour LIVE 2010 (7.11.2010 - O2 World, Hamburg) (CD, Santa Claus Is Coming To Town, Children Of The Night - Art Blakey & The Jazz Messengers - Mosaic (Vinyl, LP, Album), Strange Things - Tom Jones - Live On Soundstage (CD, Album, Album), Went To The Moca Today, Trevor Loveys - Feeling Of Love EP (File, MP3), Heartbeat - Various - The Day The Music Died (CD, Album), Toyah - Sheep Farming In Barnet / The Blue Meaning (CD), Cest La Vie - Le Ragazze di "Non È La Rai" - Non È La Rai sTREnna (CD, Album)