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Book Review: Restless Souls
by Lang Reid
 Restless
Souls (ISBN 974-8303-91-8, published by Asia Books in 2006 and written by
Phil Thornton) promises that it is an extraordinary book. Between its covers
is where “refugees, mercenary adventurers, migrant workers, gem dealers,
prostitutes, scavengers, rebel soldiers, corrupt officials and drug dealers
inhabit the shadows.” And while this could easily be describing the goings
on in the nation’s capital, it is actually set amongst the Karen minority in
Burma and the goings on are in and around the small town of Mae Sot, on our
side of the Thai-Burma border.
To write this book, author Thornton crossed over into Burma several times,
and not always legally, so he took many chances in compiling the material
for this publication. He investigates the schism between the Karen National
Liberation Army (KNLA) and the Democratic Karen Buddhist Army (DKBA), and
does pose the obvious question since Buddhism does not allow for the killing
of any creature, just how can you have a “Buddhist” army?
He visited many Karen groups and interviews several of their leaders. He
does show very quickly why some low order KNLA army personnel would leave to
join the ‘other side’ (DKBA) to become a high ranking military man, even
though the DKBA sides with the Burmese regime.
There are several photographs inserted in the book, but most are just
portraits of people mentioned in the book, and do not show the true
suffering of the Karen peoples. People who are making a difference are also
interviewed, such as Dr. Cynthia Maung, who runs a clinic in Mae Sot,
staffed by volunteers, mopping up the carnage caused by land mines laid out
around Karen villages. The epilogue, however, shows the hopelessness of the
total situation in one of the least democratic nations on earth. A
hopelessness for all Burmese, not just the ethnic Karen.
In a world where we are insulated from the ‘real’ situations and seduced by
tales of 73 billion baht tax-free share transactions, this book makes you
stop and think just how well have we, as a society, progressed. It would
seem not very far. The basic ‘bash them into submission’ from the caveman
days is alive and well and after reading this book, it seems as though it is
honed to perfection in Burma. A very well written and gripping series of
tales, and ones that should make us all feel embarrassed by our ability not
to see what is under our noses.
Minorities in all societies seem to become oppressed, no matter what
democratic principles are encouraged (or legislated). America, the UK and
Europe still actively disadvantage their minority groups; however, according
to Phil Thornton in this book, Burma (and to a lesser extent Thailand),
actively suppresses the Karen people and atrocities are being committed
regularly. Murder, rape, torture and genocide are continuing, but the NGO’s
have no real answer and become lackeys to the regimes in power. In many ways
this is depressing, but on the other hand, could be seen as a ‘call to
arms’, but I doubt it. Thornton’s book will be the eulogy recording the
passing of a once proud ethnic group.
Mott’s CD review: Gryphon
Glastonbury Carol
 By
Mott the Dog
Krumblehorned by
Meow the Cat
5 Stars *****
Gryphon is one of the bands that epitomised the early seventies; the
life of a Gryphon was not long, five years to be exact. But as the
Gryphon grew up it changed like a chameleon, integrating into its
scenery whilst becoming a powerful and influential beast.
Gryphon was always a band impossible to categorize, they were sort of
labelled progressive rock, but if anything they could have been called
retro rock. (Albeit with a progressive slant!) No instrument was too
obscure to be used by one of the Gryphons, although a fancy for
crumhorns must be acknowledged.
I personally cannot resist just running a thumb over what instruments
were used in the studio and the live stage. Beside various crumhorns
(apparently they come in a wide range from high to low and resemble
something like an early wooden six iron, can be spelt with a C or a K,
and make a very jolly if rather rude noise. Rude as in school playground
humour). Other instruments that were turned over in the Gryphon hands
that were perhaps not considered run of the mill to your average rock
band in the early seventies were recorders, bassoons, glockenspiels and
yamaharmoniums, along with ordinary items such as pianos, organs, drums,
guitars, and bass guitars.
Whatever the band used in the studio was also taken along for live
concerts, often creating great hilarity, as musicians desperately
stumbled around looking for the next instrument they were supposed to
play, usually finding it just in the nick of time.
Over the course of the Gryphon’s life, they started out as a sort of
trio, Richard Harvey, Brian Gulland and David Obersle, developed into a
bit of a four piece with the addition of a lead guitarist in the shape
of Graeme Taylor, and then blossomed into the more traditional five
piece rock band with the addition of Philip Nester on bass. This gave
them a proper rock trio, whilst the other two could rush around at the
front of the stage (Gryphons did not exactly rush, but a bit of
mottistic license here). They of course went backwards becoming a four
piece then a trio before disbanding in the wash of Punk rock in 1977.
Four albums were cut for the progressive record label Transatlantic, and
everyone a little gem, too. Firstly, the self titled ‘Gryphon’ (1973) -
now how many rock albums can claim to have a track written by the
English King Henry VIII? Well Gryphon can. Then there was ‘Midnight
Mushrumps’, with its twenty-two minute instrumental title track,
inspired from when Gryphon were asked to play along to a production of
William Shakespeare’s ‘The Tempest’ at the National Theatre.
Quickly on the heels of Mushrumps came ‘Red Queen to Gryphon Three’ - a
concept album based on a game of chess, I kid you not. This was an all
instrumental album featuring some of the fastest recorder and crumhorn
or even krumhorn playing you are ever likely to hear, perhaps paving the
way for thrash metal, but perhaps not.
The following year was the turn of ‘Raindance’ (1975) which was
Gryphon’s attempt at more contemporary rock, which really kind of ruined
the original effect. After this Transatlantic rather gave up on Gryphon
and to be fair I think Gryphon was a bit on the tired side too,
certainly its feathers had been ruffled when sent out on the road with
big name progressive rock band Yes all across America, leaving the
American audience very bemused by what they saw as a bunch of medieval
wandering minstrels setting up on stage. One more album was released,
‘Treason’ (1977) and to be quite frank the title is pretty apt.
But in their day Gryphon was a joy to behold, always giving off a great
vibe of fun, whilst showing off their musical skills. Transatlantic have
now put together a double CD ‘Crossing The Styles’ which collects
together nearly everything that was released by Gryphon, and at over two
and a half hours of wonderfully cheerful music is an absolute joy to
listen to. Out of all the bands that came and went during the early and
mid seventies ‘Gryphon’ stands out as one of the most unique.
In 2003 Hux records put out one more CD, a collection of two B.B.C. In
Concert sets, one from 1972 recorded before anything from Gryphon had
actually been released officially, giving us a very interesting insiders
listen to the original concept of the band. This first session has five
songs on it, four of which are traditional laments rearranged by the
band, and one original, not that you notice much listening to the five
of them in order. But it is crumhorns both high and low to the fore and
a merry jig do they make; it is almost impossible not to tap your foot
along to the rhythms, especially when the crumhorns break into snippets
from ‘It’s a long way to Tipperary’ and ‘Somewhere over the Rainbow’.
The second set recorded two years later shows the fully developed beast
in all its five piece glory. Starting off with a bit of a jam between
all the band members they then break into all three movements of
‘Midnight Mushrumps’ written solely by Richard Harvey. There is still
the unmistakable sound of the Gryphon there, but certainly a few tricks
have been taken on board from other progressive rock bands of the time.
At times they could almost be mistaken for early Genesis, not that this
is a bad thing, everything has to progress, and when the recorders break
back in again it is all refreshingly Gryphon again. ‘Midnight Mushrumps’
must be considered Gryphon’s finest piece a quite magical twenty minutes
journey.
When I say that Transatlantic collected up nearly everything that was
recorded for their label by this wonderfully unique band, there was one
track missing - a single called ‘Glastonbury Carol’, a song commissioned
by the people who made the Glastonbury film, but as the film was never
released the song was obviously not used on the soundtrack and only
released as a single. The single received no promotional push from
Transatlantic, not really seeing Gryphon as ‘Top Of The Pop’s’ material.
To make matters worse the little hole that you had to have in the middle
of vinyl records, LP’s as well as singles, was slightly off centre, so
by the time the song came towards the end, it made an awful seasick
inducing pitching and tossing, not conducive to massive sales.
Fortunately the original tapes were found and the single has been tacked
onto the end of these sessions as well as lending its name to the album.
A great bonus as it remains one of Gryphon’s most atmospheric tunes.
Alas all good things must come to an end and by 1977 Gryphon was no
more, but they leave behind a fine legacy of music, all available from
the wonderful www.amazon.com
After Gryphon came to its natural conclusion, all the members of the
band went onto further success in their own fields: Graeme Taylor,
Malcolm Bennett (who replaced Philip Nestor on bass guitar towards the
end), and Philip Nestor became successful session musicians. After a
varied career David Oberie now owns his own record label, Communique.
Whilst both Richard Harvey and Brian Gullard work in the film and
television soundtrack industry, with Richard Harvey at present in
Hollywood putting the final touches to the soundtrack to this year’s
blockbuster starring Tom Hanks ‘The Davinci Code’.
If anyone has any idea what a Gryphon or a Mushrump is please write to
Mott at the address listed at the end of this review.
Gryphons on this album:
Richard Harvey / High Recorders, High Crumhorns, Keyboards,
Yamaharmoniums, and Vocals
Dave Oberle / Drums, Percussion, and Vocals
Graeme Taylor / Acoustic and Electric Guitar, and Vocals
Brian Gulland / Low Recorders, Low Krumhorns, Bassoon, and vocals
Phil Nester / Bass Guitar
Songs
Kemp’s Jig
Sir Gavin Grimbold
Touch and Go
Astrologer
Estampie
Opening Number
Mushrumps 1st Movement
Mushrumps 2nd Movement
Mushrumps 3rd Movement
Glastonbury Carol
To contact Mott the
Dog email: [email protected]
Website: http://www.mott-the-dog.com
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