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Graham J covers Ian Prowse classic


Graham J has released his own unique take on Ian Prowse’s classic Liverpool track Does This Train Stop on Merseyside.


Does This Train Stop On Merseyside is a new collaboration between Graham J and Paul Murphy from the Electric Penguins. They decided to cover the famous Ian Prowse track as an homage to the musical life of both Dublin and Liverpool. Both of which share a rich and intertwined musical and social history. There have been many recordings of this wonderful song including one by the legendary Christy Moore so it was decided that a completely different spin needed to be added. Graham is known for his unique reinterpretations of classic songs and shares a love of Film Noir with Paul. It was decided that the image of a train travelling at night would influence the performing forces used to shape the track. The guitar and piano are used to give the impression of a train in motion. The wonderful lyrics, combined with Graham’s distinctive vocals help to create a distinctive and unusual soundscape.”

Graham’s  unique contralto voice and highly emotive singing have garnered  him a large following internationally. Earning him many plaudits from the press. Acclaimed music journalist Larry Flick describes him as having “A gift from God” and praised him saying “You make pop music serious. You’re a real artist”. Graham has performed at the Laurie Beechman Theatre on Broadway in New York City. Headlining The Gay Pride Festival in Sitges and performing at Pizza Express in Holborn.

“Graham J. interacts with the arrangements, at times interpreting the lyrics in such a way that he provides an additional instrumental quality. This is an album of surprises, one which hits you both aurally and emotionally. Cry is a joy to listen to.” - Sammy Stein : Something Else Reviews

“Graham J. can hold an audience in the palm of his hand.” - Jazz Views

“Graham’s organic talents, however, are equally matched with his meticulously polished and truly bewitching delivery. His sound is delicately intricate and multi-dimensional, and he’s able to hit some astonishing aural heights.” - Huffington Post

“…wouldn’t be out of place in a Lloyd-Webber blockbuster musical” - Maverick Magazine

“Numbers like ‘Summertime’ found Norton riffing and flouting vocal feathers over swanky jazz arrangements” - The Thin Air


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