The Passing of Norman Barratt (Gravy Train)

It was only 6weeks ago that I had completed the liner notes for the fifth amendment of my rock book when Norman Barratt hastily emailed me some forgotten photographs which he had hustled from his garage. Norman himself had never quite come to grips with the endearing influence he had affected on the Prog rock scene. A humble character by all means the Barratt story is seminally as provocative as any Floyd / Camel / Caravan travelogue, in some cases even more ‘street level’ as Norman would often remark. From the start Norman’s strident early days were honed in the area of Newton Les Willows, a Liverpool / Manchester dividing line where he played with The Hunters yet still maintaining a position as trainee accountant. Once qualified Norman turned musically professional with the psychedelic Newtons Theory and hit the London scene. Newtons Theory although never recording an album had hit dead centre capturing the attention of a star-studded veteran soul band called Spaghetti House who attempted to recruit Norman for his songsmith and guitar abilities. Reformed as Gravy Train (Northern slang for easy money) with Barratt at the helm of the band members comprised ex John Rotherham Trio jazz drummer Barry Davenport, ex Spaghetti House flautist / saxophonist J.D. Hughes and ex Incas bassist Les Williams. Thanks to Jonathan Peel(no relation to the late John Peel) a two album deal was signed with the spiral laced ‘Vertigo’ in 1970 giving Norman the freedom to chug forth on a multi-layered boundary of varied styles. The groups Canterbury styled debut emulsified by the heavy duty riffs of Norman has a majestic countenance as astounding guitar interplay ripples through “Think Of Life” while a Prog styled blues reflects off the feedback riffing “Coast Road”. The humorous “Dedication to Syd” complete with vox feedback has the scent of Soft Machine / Floyd, but still authentically original. The 16min opus “Earl of Pocket Nook” remains a calculated jam (reflective of countless jams with Prog group Sleep) reaching the manacles of Cream.

She said with God we’d be happy…

Strangely it was not the debut but their ensuing Ballad of a Peaceful Man in 1971 that solidified their place in the hallowed archives of Prog supremacy. Commonly known as the ‘Egg’ album and wonderfully augmented by the orchestral arrangements of Nick Harrison, the Ballad soared verbosely through the grizzly “Alone in Georgia” and “Can Anybody Hear Me”. Although harsh the vibrant soul of “Alone in Georgia” had enough gristle to savor the same three octave casket of Joe Cocker or Arthur Brown. Educated in the jazz cycles of Coltrane, J.D. Hughes saunters through swiveling flute solos on the title track, daunting “Home Again” and heart pulsing “Messenger”, in a similar sway to Jethro Tull, although Ian had not yet adapted this style? Ballad of a Peaceful Man came to the point of revelation as a landmark collector’s item for Prog lovers notably in Germany, Scandinavia and Holland. During their six-year career Gravy Train proceeded to play with the greats, namely The Nice, Genesis, Ten Years After, Family, Audience and Roxy Music. Gravy Train was also slotted into a national tour with The Troggs and Prog giant East of Eden. The Train was peaking and the gravy was in overflow with magnificent performances at the ‘Marquee’ and Wembley Stadium’. Unbeknown to most Gravy Train also played a concert at ‘Tivoli Gardens’ in Copenhagen, attended by the Danish Royal Family who had dinner with them at the Copenhagen Hilton. Two years passed before Gravy Train launched Second Birth and Staircase to the Day under the ‘Dawn’ label. Second Birth was sheer exuberance as it charged verbosely with Barrett’s surging “Morning Coming”. The album also eases into the drifting “September Morning News”, gravitational “Strength of a Dream” and Irish supportive “Tolpuddle Episode” (Young men shipped off to Australia) which reveals the hidden Christian heart of Norman that would blossom in years to come with the Norman Barratt Band. Sadly although often performing at ‘The Bag of Nails’ ‘Cavern’ and ‘Roundhouse’ bad production and management never gave the group the success they duly deserved even though most record collections brandished the Ballad album with gloating pride. The inevitable fragmentation of Gravy Train was at hand with members demoralized at lack of success.

 Barratt the “tonemeister”  

Whether an urban guitar legend or not when Jimi Hendrix was asked what it felt like to be the greatest guitarist in the world, he answered, ‘go and ask Phil Keaggy’. It was ex Glass Harp Phil Keaggy the three fingered guitarist who requested Norman Barratt to play on his albums. Barratt had created very unique and original guitar sound compared to the likes of JJ Cale / George Harrison while his application on voice box guitar was England’s best, best heard on Mandalaband’s The Eye of Wendor. Gravy Train’s 1974 Staircase to the Day, complete with Roger Dean cover, provided an avalanche of electric extravaganza, an epitaph of cosmic musicianship. The turbulent “Starbright Starlight”, supported by the Gospel Ayres harmonies and the ambient 7-min fantasy “Staircase to the Day” relishing in exquisite toned guitar by ex Hunters / Magic Lanterns George Lynon, a previous bassist for Newtons Theory provide a mothership of spiralling Prog virtuosi. The swirling synths/ violin were played by Mary Zinovieff and ex Julian Covey & the Machine / Snafu pilot Pete Solley while Lynon & Norman take battle on glistening axes. Moments of medieval reflect its lingering tones through the ambient “Evening of my Life”. Snafu vocalist Bobby Harrison and P.P. Arnold helped out on harmonies. (Jim Frank entered the drum seat later) 

The Barratt 'Sessions' and a heavenly appointment.

Norman’s sessions were boundless which included Victor Brox’ Blues Train, standing in for Jimmy Page in Lord Sutch’s Heavy Friends and Mandala Band’s indulgent but underrated Eye of Wendor. (Gravy Train also operated as Emile Ford & Checkmates at a rock n’ roll festival in Wembley) J.D. Hughs would re-appear with the cabaret group Pearls. In 1981 alongside Gravy Train drummer Russ Caldwell Norman formed The Barratt Band, the first of many Gospel groups. Living under the guise of incorrect sleeve notes Norman through all his Prog years had kept the faith given to him many years ago by Hunters manager Norman Littler, a faith that the group were tolerant of through their rocking years. Norman proceeds to make his mark into the Gospel dimension supporting Larry Norman, Cliff Richard, and Barry McGuire later playing with the Alwyn Wall Band. Barrett’s sessions during his Gospel era included Paul Young from Sad Café, Mike Rutherford Band and Andy Pratt while his production skills serviced Glasgow band Triumph and German metal band Creed. Gravy Train had recently released a first retrospective of the ‘Dawn’ era called ‘Strength Of A Dream’ with rare singles and unrecorded tracks intended for their fifth album Ballad Of A Peaceful Man , an album so needed today has recently been remastered by ‘Repertoire’ which includes the edited single “Alone In Georgia”. Norman Barratt unlike many other rock musicians had found his peace before the Prog rock reign. In his last years he gave effortlessly to the youth and sadly passed away through surgical complications. Norman leaves behind his beloved Babs and children John, Laura, and Daniel plus a million fans that he sadly was unaware of.