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A frantic fortnight of  gigs for ProgBlog began on March 9th at Genova's Angelo Azzurro Club, a much loved venue under threat of closure. Marina Montobbio's series of Lady Prog Nights was on its third event featuring local symphonic prog bands Melting Clock and Panther & C...

By ProgBlog, Mar 19 2018 08:38PM

At the beginning of 2018 the proprietors of Genova bar and music venue L’Angelo Azzurro posted a message on their Facebook page that suggested that after almost nine years of putting on concerts they were very likely to have to close down for good because they had insufficient funds to cover their rent and were facing eviction. The energy, dedication and passion they’d put into the club really could not be questioned and the local musicians I’ve spoken to were seriously concerned about the loss of a venue that had been very supportive of the Genova progressive rock community; limiting the potential exposure of bands of whatever genre would have undoubtedly had an impact on a number of up-and-coming local bands.

Owners Danilo Lombardo and Katya Daffinoti launched an appeal for €6000 through the issue of shares and within the first three days had managed to collect over a third of that sum, prompting them to acknowledge that the club was more than simply their business, it belonged to family, friends, musicians and music fans within the community as ‘a shelter and a reference point.’ They received many certificates of esteem which indicated that their commitment over the past few years had obviously left good memories with the musicians who came to play and those in the audience who came to watch. By the end of January they were very close to reaching the total and held open meetings to discuss future plans and suggestions for improvement. I arrived at the club, still going strong and with more performances announced, on Friday 9th March.

I’d gone along to support Melting Clock, playing their third gig and premiering some new material that has been written for their forthcoming album and the event, part of a series organised by local impresario Marina Montobbio called ‘Lady Prog Nights’ was made even more attractive by the second act of the evening who already have two high calibre symphonic prog albums under their belt, Panther & C.

L’Angelo Azzurro is relatively quick, cheap and easy to access by public transport in the evening, costing just €1.60 for a ticket from Genoa’s main station (Piazza Principe) to the suburban stop Genova Borzoli, from where it’s a 10 minute downhill walk to the club. Unfortunately, Google maps drops a pin by a roundabout in what appears to be the middle of nowhere so it took me a little while to work out where the venue really was and how to get there, descending the hill beyond the roundabout then almost doubling back on myself through a 1930s industrial estate; a trip reminiscent of getting to the Progressivamente 25 festival at the Jailbreak Live Club in Rome last October or BMS at Circolo Colony in Brescia in January. I’d had to join the Circolo Colony club in addition to getting a BMS ticket; for this Lady Prog night entry to the gig was a one-off payment of €10 which included membership of the club. It was really good to meet up with friends from previous trips to the city and it was patently obvious how much the club meant to this community; the place was full and buzzing with anticipation.

I was seated behind a table occupied by members of Panther & C. along with their friends and family and was told by flautist/vocalist Mauro Serpe that he’d be joining Melting Clock on stage, for what I assumed was one of the surprises Melting Clock had hinted of. The event began with a short introductory speech by Montobbio about the club and the special brand of Genovese symphonic prog we were about to be treated to, but there was a delay before the band could start because there were problems with Simone Caffè’s acoustic guitar lead which took the house sound engineer a little while to rectify.

Once the guitar lead was fixed, the set commenced with the short instrumental Quello che Rimane, a track very much in keeping with the melodic symphonic prog style that characterises the band. Material that they’ve played on the previous occasions I’ve seen them followed: L’occhio dello sciacallo; Banalmente (first played at La Claque last November); Caleidoscopio; Strade Affollate; each song revealing nuances I’d not previously detected as the musicians had become more confident in their performance. I’ve previously compared them to Renaissance and while Emanuela Vedana’s voice matches Annie Haslam’s beautiful vocals, there’s something more adventurous about the music of Melting Clock, something in the layered sounds of the twin guitars of Caffè and Stefano Amadei that add an extra degree of complexity. If I was detecting new subtleties in the songs I’d heard before, I wasn’t prepared for the latest composition to be played live for the first time, Vetro. This song involved sudden stops and changes and reminded me of the early classic Italian prog bands, taking their lead from UK prog, most notably King Crimson. Stefano and Sandro Amadei both suggested that they’d been a little nervous of tackling something of that difficulty for the first time in front of an audience but I thought it sounded remarkably tight and contrasted nicely with the flowing tunes I associate with the band. The technical challenge faced by the musicians, not least drummer Francesco Fiorito and bassist Alessandro Bosca, will have tested the audience in a different way. I actively seek out music that could be difficult to listen to and though this wasn’t in any way extreme and would still be classified as symphonic prog, I can’t believe that it didn’t make a few people sit up and marvel at the writing and execution of the piece; the applause at the end of the song suggested that the crowd really appreciated an excellent piece of music.

We were back on familiar territory for the next two songs, my favourite Antares and the evocative Sono Luce before Panther & C.’s Serpe joined them for their final number, by tradition a cover version of a prog classic. In acknowledgement of Marina Montobbio’s fantastic efforts getting the series of concerts off the ground, they played a song that originally featured Steve Hackett, one of her all-time favourite musicians, Firth of Fifth, with flute provided by Serpe.

Apart from the glitch at the beginning of the set, the sound was mostly good. The mixing desk was at the side of the stage so the engineer had to walk out in front of the band to judge how well he’d balanced the instruments and it took him a couple of trips to get Vedana’s vocals to a suitable level in the mix. Being a bit of a fan of keyboards, I wouldn’t have complained if they’d been a little clearer when the band was in full flight.

The Panther & C. performance was as good and professional as you’d expect. I’m relatively familiar with their music having bought both of their CDs when I last saw them at the Porto Antico Prog Fest, so I’m beginning to pick out more subtleties in their music, too. The set was a mixture of material from both of their albums (my personal favourite was ...e Continua ad Essere which segued into Giusto Equilibrio) but whereas you expect them to play high quality symphonic prog, the theatrics of Serpe also play an important role and that’s not something I’d particularly noticed before or something that comes across on CD. In a previous review I’d incorrectly ascribed opening song La Leggenda di Arenberg to the famous cycle race through the Arenberg forest but, aided by the CD booklet I now understand it’s about the Flemish king Helmut, and how he battled bravely despite being outnumbered by another army with around 100000 cavalrymen. Legend tells of the reappearance of Helmut and his foes for one night every year, disappearing as the sun rises.

This has caused me to reappraise the band. The musicianship is of a very high standard (Serpe on flute and vocals; Alessandro La Corte on keyboards; Riccardo Mazzarini on guitars; Giorgio Boleto on bass; and Falco Fedele on drums) and the compositions are well-crafted and the lyrics poetic. They certainly tell a very good story through both music and words; add in the use of masks and it’s clear that they’ve derived some inspiration from early Genesis.

Montobbio and her husband very kindly gave me a lift back to my hotel at 2.30 am – public transport had shut down by the time the gig ended – but in the intervening period while the two groups packed up their equipment, I was introduced to some other members of the Italian Riviera prog scene: Bruno Cassan who is based in Nice and is responsible for, amongst other things, Prog’Sud in Pennes-Mirabeau, France (Panther & C. played there in 2017); and Il Tempio delle Clessidre bassist Fabio Gremo (who had come along with ITDC guitarist Giulio Canepa to support his good friends from Melting Clock.) The sense of community can’t be understated, and it would be a terrible loss if L’Angelo Azzurro was forced to close. Every time I visit the city, I’m awed by the friendliness of everyone involved in the prog scene in Genova: the support from the staff at Black Widow Records, the work and enthusiasm of Montobbio, and a world of welcoming musicians. I’ll be back

By ProgBlog, Mar 12 2018 10:28PM

The small group of family and friends that share my interest in prog can all trace their appreciation of the genre to the golden age. I grew up with almost all of them and most are regular gig companions but I was still blown away by their response when asked to submit their nine ‘life changing’ albums. Some just provided me with a list, one a list with bullet points and the remainder of the submissions were roughly along the same lines as my selection last week, including explanatory notes. My guidelines were deliberately woolly but included the following points: to list the nine albums that had the most significant impact on their lives, or were at least associated with significant events in their lives; to provide a short summary of their choice should they wish to do so; and to compile their choices before I revealed my own list, published the blog last week.

These are their 9 albums:

The albums are arranged in chronological order of their release. Thick as a Brick I didn't discover until about 1975 but is the best Tull, saw IA perform it in Newcastle a few years ago along with TAAB2. Close to the Edge is the best Yes and any prog album and one of my earliest discoveries. The Dark Side of the Moon still sets the bar and was another of my early favourites. Refugee is still Patrick Moraz's finest work along with Relayer. The Lamb Lies Down on Broadway is another early find and remains brilliant. Red runs close with In the Court of... as the best Crimson album but I chose it as it features Bill B. I got Harbour of Tears last year on holiday in Krakow and is as good as any Camel album. Dust and Dreams and Rajaz both from the 90s are also up there with their best work. AD 2010 I got on holiday in Sienna which was a great holiday made even better by this find and I have been seeking out other recent post-2000 PFM albums which are really good. Rattle that Lock is DG's best solo effort and compares favourably with any Floyd. I was very tempted to include a Water's Edge album for personal reasons but probably not prog enough! Number 10 would have been Aerie Faerie Nonsense by The Enid.


Days of Future Passed

A linked piece (concept) with varied writers and instrumentalists contributing to a fine album supported by a full orchestra, it was one the first pieces of progressive music I heard. Having grown up in a house where classical music was enjoyed by my dad, it was as if ' pop ' music was going somewhere and albums were works in themselves.


Loved the music, harmonizing guitars, lyrics and extended progressive middle sections. Although Wishbone Ash have a rocky sound at times, it had sustenance in its tracks and delivered open lengthy pieces.

Music Inspired by The Snow Goose

Had read the book and someone lent me the album. Hooked and to this day I enjoy it as much as ever. The sounds and progression! A great work.

Tubular Bells

One man's concept album or was it? But life was never the same after hearing this and subsequent albums were certainly more fluid and impressionistic. It was different!

Nursery Cryme

Ahh, Genesis. Perhaps the one band I committed to wholly. This really was 'fantastic' music, story-telling, picturesque, album after album but it started for me with Nursery Cryme in the mid 70s.

Tales from Topographic Oceans

Of all the YES albums, I came to this first! Fascinated by the other worldliness of its sounds, by the album sleeve and its escapist, visionary nature. You travel with the music.

Brain Salad Surgery

I had a friend who had Pictures at an Exhibition (I knew the classical work) and had enjoyed it, then this. Big, brash, funny and a moment of sublime love (or so it seemed to a teenage girl). Played my dad Jerusalem over a cup of tea. Even my sister (not her usual stuff) played it ...well, some of it. You had to be in the mood to go through all the three movements of Karn Evil 9 but it anchors me to a time and place.


I'd had an amazing first listen to Dark Side of the Moon; lights out, candles lit, a group of us listening in an attic bedroom but it was Meddle that I returned to in 1975 as a soundscape when revising for my O Levels. Experimental, varied influence, perhaps no real concept but some tremendous pieces. A favourite to this day.

The Condensed 21st century Guide to King Crimson 1969-2003

Essential inclusion for me and with thanks to [ProgBlog]. I had heard In the Court of the Crimson King at parties (the lads in a room wowing at whatever) but it is, criminally, only in relatively recent times that I've immersed myself in KC as a unit and this collection is stunning. This may has enhanced my prog listening. Am still on that journey.


The albums represent: 1st single purchased; 1st album purchased; 1st prog album I heard; 1st gig attended; 1st album heard at Uni; 1st CD purchased; 1st double album purchased; favourite prog album; favourite prog track; favourite album cover; favourite album; favourite non-prog album; album with the most versions in my collection (vinyl, half-speed remastered vinyl, hi-res 24 bit download, CD, picture disc CD); album I play the most often (but not necessarily my favourite)


Pink Floyd – The Dark Side of the Moon

The very first album I bought, second hand from Paul Thompson for £3.50 in 1980, mint condition with the posters and stickers. What a way to start your music listening career! The first album being prog-related set a tone for the music I got into in the immediate years following, and a lifetime of listening beyond that.

Jethro Tull – Repeat the Best of Jethro Tull Vol.2

A 14th birthday present from [ProgBlog] and Bill Burford. Having struggled a little at first with the Songs from the Wood album this pulled me in hook, line and sinker. Several years of Tull obsession followed. A very good compilation from the classic Tull prog years.

Martin Stephenson & The Daintees – Gladsome Humour & Blue

“Who?” you may ask. A former carpet fitter from Washington, Tyne & Wear, that’s who. Rather like Dark Side, an album written by a man with immense maturity for his tender years. Heart melting stuff bought second hand at the record shop in the Newcastle University student union. Martin’s almost a shaman character, who shunned the majors for a simple life doing music his way, which he still does to this day from the Highlands of Scotland.

Johnny Cash – American III Solitary Man

Early 2000s, I’d heard Folsom Prison and thought it was quite quirky, so bought this on the hop for a fiver at Fopp. The (on the face of it) bizarre collaboration of hip hop producer Rick Rubin and Johnny Cash produced heavily stylised recordings that turned ok originals into probably the most dramatic music I’ve ever heard.

Various Artists – The Best of Blue Note Vol.1

Introduced me to the world of Blue Note, and very heavily influenced the next ten years of listening and purchasing. Included the Donald Byrd version of Cristo Redentor, a beautifully pure trumpet tune with eerie backing “woos” (not words as such) from a gospel choir. A song which will be played at my funeral. Included other future faves like Horace Silver and Art Blakey.

Genesis – Live

Bought this for a pound off John Carrott, when he was selling his albums. Played to death then replaced on CD. Played very frequently to this day, and I keep hoping they’’ issue an expanded version one day. Five songs, all great, but side 2 with The Musical Box and The Knife is surely one of the greatest sides of music ever issued.

Gil Scott-Heron – The Revolution Will Not Be Televised

A 1974 compilation bought at Hitsville in Newcastle. Poetry meets jazz meets funk meets politics meets human rights. A pioneer of rap from the late 60s, but with really strong messages, from the very raw at the start to really sophisticated pieces near the end.

Various Artists – First Time I Met The Blues

I’d started seeing some live roots music, then picked up this Chess compilation, which led me to Howlin’ Wolf, Muddy Waters and Chicago blues that had come from the fields originally, very raw black music, the punk of its day.

Various Artists – Blue Brazil

A Blue Note compilation of very melodic Brazilian jazzy numbers, laced with fantastic rhythms and beautiful voices. Strange because none of the music had been released on Blue Note originally. Set off another investigation into rhythmic music from other countries that picked up some things I already liked including funk rhythms and jazz, Afro-centric music, and pulled at my own South American heritage (albeit much more interesting music than the native stuff from Chile and most of South America).

I know these compilations are cheating a bit, but they’re random purchases that opened doors.


A Nice Pair – Pink Floyd.

This release of the first two Floyd albums was my real initiation into music that was to become ‘mine’. Although I had heard my brother playing albums in his bedroom in the early 1970’s it wasn’t until I was played A Saucerful of Secrets in a music lesson at school that I began discovering music outside the charts. I will forever be thankful to that teacher, Mr Peter Nurse.

Evening Star – Fripp & Eno.

I first heard this when visiting my brothers flat. The music had an otherworldly quality that resonated with me and indeed still does.

Tubular Bells – Mike Oldfield.

This is an album I remember hearing my brother play and it became one of the first albums I bought, the first was actually Hergest Ridge also by Oldfield. However, if I hadn’t heard this album as much as I did I’d never have bought Hergest Ridge. It’s not my favourite Oldfield album, that remains Ommadawn, but without it, a love of instrumental music may never have been forged.

Journey to the Centre of the Earth – Rick Wakeman

This one album sparked my love of electronic keyboards and synthesisers. I was introduced to it by a friend called Richard Key who used to give me lifts when we went to fishing matches. One day on our return he invited me in to hear this album and I was hooked. Much was to follow from that day.

Close to the Edge – Yes

Having discovered Mr Wakeman it didn’t take long to discover Yes. This remains the quintessential progressive rock album to me and the best that Yes released. Other individual Yes songs may have come close, The Revealing Science of God, Gates of Delirium, Awaken, Starship Trooper and Heart of the Sunrise immediately spring to mind but this album had it all in just three songs.

The Dark Side of the Moon – Pink Floyd

This is another album that isn’t my favourite from the band, that would be Wish You Were Here, but when I first got the album, bought as a Xmas present on cassette, I played it to death. I’ve since had the album on vinyl and CD (4 times) and I never tire of it.

Phaedra – Tangerine Dream

I believe I first heard this album in the ‘Tracks’ record shop in Royston where I grew up. The guys in the shop were beginning to suggest albums to me knowing my interest in electronic keyboard based music and the decision to purchase was immediate when I heard the sequencer kick in. This has been a really important album for me and gets played at least once a month even now. It may not be as technically proficient as subsequent albums but it retains a distinct charm all of its own.

Oxygene – Jean Michel Jarre

This was another of those albums that just had to be bought once I’d heard the single from the album, Oxygene IV. This was really accessible electronic music which couldn’t be said so easily of Tangerine Dream. I’ve followed Jarre’s career ever since. He’s released some real duds in the last 40 years but Oxygene is an electronic music classic and is another of those albums that I still get real enjoyment out of listening to.

Deadwing – Porcupine Tree

This was my introduction to both Porcupine Tree and Steven Wilson who has since become a very important musical personality in my listening. Strangely, I only started to find out about the group when I discovered that Robert Fripp would be the support artist on the second UK leg of the Deadwing tour. As I wanted to see Fripp performing his soundscapes live I thought I’d find out more about the group he was supporting. I’d be a lot richer now if I hadn’t bothered but I’m so glad I did. I now have nearly every album that Steven Wilson has released either with Porcupine Tree, as a solo artist, with Blackfield, Bass Communion or No-Man. Tickets for four gigs on the upcoming UK tour might give an indication of how important his music is to me


Yes - Close to the Edge

Yes - Relayer

King Crimson - Larks' Tongues in Aspic

King Crimson - Starless and Bible Black

ELP - Trilogy

Miles Davis - Kind of Blue

Miles Davis - Star People

Camel - Music Inspired by The Snow Goose

Focus - Best of Focus


Probably think of some album I'd rather include but can't check record collection. All oldies, number 1 has remained so since age 14, the others might move about a bit

1) Close to the Edge

2) Larks' Tongues in Aspic

3) Fragile

4) Tales from Topographic Oceans

5) Starless and Bible Black

6) Nice

7) The Dark Side of the Moon

8) Pictures at an Exhibition

9) The Lamb Lies Down on Broadway


The group of respondents, including me, have an age range of 47 – 61; the mean age is 56 and the median age is 58. Six of the group spent their formative years in a relatively close-knit community, separated by only a very few houses and three of the six are closely related; one is from the Birmingham area, one from a small town in Hertfordshire and one from Leeds. More importantly, the musical tastes of this cohort don’t appear to have changed during the intervening years. With the exception of one respondent, all were teenagers at a time when progressive rock was a recognised and commercially successful genre, though competition from other musical styles was fairly restricted to outright pop (appealing to the predominantly pre-pubescent), blues-based rock, glam-rock and soul; my household was filled with a wide spectrum of jazz and at least one household featured a range of classical music. The oft-observed gender imbalance of prog fandom is evident here, with only one of the eight being female.

What comes across that respondents were discovering music which has informed their choice; most have stuck with the music of their teens but there is an element of tastes branching out. The influence of older siblings and friends is also clear, so that both Close to the Edge and The Dark Side of the Moon albums feature heavily but different examples of works by ELP, Genesis, King Crimson, Pink Floyd and Yes, five of the leading exponents of prog, are scattered throughout the lists, potentially indicating personal preference for one of a band’s albums over another. The degree of homogeneity between respondents is further demonstrated by Camel, Focus, Jethro Tull, Mike Oldfield, PFM and Tangerine Dream all appearing in more than one list.

There’s also an indication that some of the choices aren’t the favourite albums by a band, though they still appear in the list. My personal choice wouldn’t all be in my favourite nine albums as I prefer Hamburger Concerto to Focus 3, Refugee’s self-titled LP from 1974 would be in my top five and however good Starless and Bible Black may be, I like In the Court of the Crimson King, Larks’ Tongues in Aspic, Red and USA even more. I looked upon each choice as a gateway to further discovery so that I couldn’t include Refugee or Snow Goose or any Genesis.

Thanks to everyone I asked for their nine albums for their illuminating replies – you know who you are.

By ProgBlog, Mar 6 2018 03:20PM

The Instagram and Twitter trend ‘9 albums that changed my life/mean most to me’ (#9albums) that appeared in January didn’t pass me by but its appearance on various social media platforms made me somewhat wary; as a piece of social investigation it’s an interesting topic but when internet monopolies get involved it becomes a little more sinister. I can’t be the only person in the world to get annoyed by adverts, including smart adverts, driven by clicks on Google, Facebook and Amazon. I want to make my own choices and, just because a large proportion of Yes fans might like Rush, it doesn’t mean that I do, or want to. Put another way, I’m not a lemming or a sheep and I know what I like (in my wardrobe). Why nine albums? Is it because it forms a neat 3x3 square for an Instagram photo or does the Instagram generation have an average of nine significant events in their lives? How should we define significant?

There were appearances of this question in January 2016 and 2017 but there’s evidence that the trend goes back to at least 2013. I suggest that it fits in with the New Year resolution phenomenon; a reflection on your life but one that doesn’t necessarily require any form of reappraisal or change. It’s all part of the challenge!

There don't appear to be any specific rules so I’ve arranged my nine choices chronologically by date of impact on my life. I got into prog fairly early so the chronology also fits roughly, but not exactly with the release date of the albums.

These are my personal choices:

Close to the Edge (1972) – Yes

It wouldn’t be fair to include the debut Roxy Music album, released three months prior to Close to the Edge, although Roxy were the first band to pique my interest in rock music when they appeared on BBC TV’s Top of the Pops playing Virginia Plain, because I only ever heard that single from the album. In September 1972 Close to the Edge was unlike anything I’d ever heard before and remains, in my opinion, the definitive progressive rock album and as close to musical perfection as you can get. It’s the reason I got into prog.

The Dark Side of the Moon (1973) – Pink Floyd

Likely to appear in a large number of the lists compiled across the world but this was the first new Floyd album to appear after I’d set out down the road of progressive rock. Before its release I’d borrowed a couple of bootlegs from a school friend and bought Relics but this seemed like a massive leap forward. I was hooked by the whole package; not just the music and the way the whole album linked together but the stickers and posters and the prism and pyramid imagery (I studied physics at school.) I was even impressed by Roger Waters’ lyrics which came in for some criticism in the music press.

Focus 3 (1972) – Focus

I was given a small transistor radio as a present for Christmas 1972 and one of the things that always seemed to be on Radio Luxemburg around 10pm was Sylvia, released as a single by Focus in January 1973. Focus 3 was circulated amongst friends of my brother and I was struck by the flute and what I felt was a distinct branch of highly melodic prog, to which I’d later add Camel and Steve Hackett’s earlier solo works.

Birds of Fire (1973) – Mahavishnu Orchestra

Jazz was the predominate musical form in our household even after my brother and I began to buy our own records, so the fusion of jazz and rock was something quite easy to get into, having been introduced on rock radio. The fluency and attack of the guitar, drumming like I’d never heard before and the interplay between guitar, keyboards and violin was just amazing; I bought the album in 1975 and it became key to opening up the extraordinary world of jazz rock where melody was sometimes sacrificed for proficiency: Isotope, Brand X, Weather Report, Return to Forever and even mid-70s Soft Machine.

Starless and Bible Black (1974) – King Crimson

This was the first Crimson album in our household and I still regard it as a mixed bag which goes relatively unnoticed between the groundbreaking Larks’ Tongues in Aspic and the influential Red. I find the first side of the original LP slightly unfulfilling despite the strength of Lament and The Night Watch; side two is brilliant and demonstrates the power of the group and a sublime mastery of tension and release. This obviously kick-started a life-long fascination with King Crimson but the cover inspired me to seek out Tom Phillips’ work at the Tate when I first arrived in London and more than that, I became such a great fan of John Wetton’s bass playing that I bought myself a bass guitar on my 18th birthday.

Rubycon (1975) – Tangerine Dream

This was my introduction to electronica. One of my rules for discovering and enjoying new music was the presence of keyboards, so Tangerine Dream had something of an advantage! I bought Rubycon shortly after its release having heard and been intrigued by Phaedra in 1974 and sold on the suggestion that they were influenced by Pink Floyd. I loved the single composition format over the two sides of the LP (Rubycon part 1, Rubycon part 2) which seemed to be a Virgin Records thing, but it was the amorphous other-worldly nature of the music, transporting you somewhere alien but largely benevolent which most attracted. I still maintain it’s the best record to listen to through headphones in the dark.

Cook (1974) – Premiata Forneria Marconi

Cook has probably had the most profound effect on my life after Close to the Edge and is responsible for my appreciation of Rock Progressivo Italiano. I can’t remember exactly how PFM came across our radar but I must have seen their performance on The Old Grey Whistle Test and Alan Freeman must have played them on his Saturday afternoon radio show. Cook was the first of their records that I bought but we were also listening to Photos of Ghosts, Chocolate Kings and Jet Lag, blown away by the musicianship and intrigued by the Italian take on prog.

UK (1978) – UK

As brilliant as this album is, it’s disappointing because it marks the end of the first era of progressive rock. At the time it seemed like it marked a new beginning, a strong album with excellent tunes and great playing and incorporating, through Allan Holdsworth and Bill Bruford, a jazz rock sensibility. Following the demise of King Crimson, it seemed like the formidable rhythm section which drove Crimson from 1973 – 1974 had, after some wandering that added to their musical educational, found an ideal home. Of the other ostensibly prog releases that followed, only National Health produced music of a quality that could match anything from the golden age of progressive rock. Genesis were down to three members and consciously going pop; Camel, directed by their record company, had given up on epics; Yes seemed bereft of a coherent concept and put out the patchy Tormato, where poly-Moog drenches everything apart from flanged bass, and ELP produced Love Beach.

Lux Ade (2006) – La Maschera di Cera

By 2005 I had begun to fully appreciate the breadth of output from Italian prog bands operating during the golden period of progressive rock, despite rarely featuring in the UK music press at that time. 2005 was the first year of an almost unbroken series of annual pilgrimages to Italy and the first where I consciously sought out record stores in an attempt to build up a collection of classic Italian prog. Fast forward to 2008 and it was only by chance that I came across a copy of Lux Ade in Beano’s second hand record store in Croydon and, tempted by the obvious 70’s keyboard set up, production courtesy of PFM’s Franz di Cioccio, plus the fact I had a 50% discount as a ‘member’ of Beano’s, that I handed over £5 to complete the best ever speculative buy I’ve ever made. This CD opened up the Italian progressive rock scene that re-emerged in the mid 90s to me and, in a parallel to hearing Close to the Edge, the first rock album I’d ever listened to, I think that Lux Ade is the best of the current wave of Rock Progressivo Italiano albums.

I found it relatively easy to come up with the bands that made up my nine but I originally chose Moving Waves instead of Focus 3 and Red instead of Starless. I seem to recall hearing The Inner Mounting Flame before Birds of Fire, but I didn’t own the first Mahavishnu album for some time and I actually most like Between Nothingness and Eternity (which I also bought in 1975.) It seems a shame to miss out some of my favourite albums but that’s not the point of the exercise; I tried to choose titles which had the most meaning and my taste tended to expand organically, with an appreciation for The Nice opening up ELP and then Refugee. It’s not unfair to say that my predilection for music hasn’t really changed at all in the 35 years I’ve been buying records, and that includes life-affirmative events like getting married and becoming a father. My wife went through the exercise and almost instantly came up with a fairly eclectic mix that seems to have more to do with life events than mine but also reflects a constant evolution, partly spurred by the discovery of music through Shazam: Simon and Garfunkel's Greatest Hits, Let’s Get it On by Marvin Gaye, Bat out of Hell by Meat Loaf, Vienna by Ultravox, Private Eyes by Hall and Oates, Dare by The Human League, Chris Rea’s self-titled fourth album, True by Spandau Ballet and ending up with Truth Came Running, the first album by Australian singer-songwriter Mark Wilkinson, bought from the man himself as he was busking in Sydney in 2012.

I thought it might be interesting to ask a group of close friends and relatives, all with an interest in prog that was nurtured in the golden age, to come up with their nine albums. I grew up with almost all of them and most are regular gig companions; there’s no evidence that they’ve taken part in the challenge before and I didn’t stipulate that they must choose progressive rock releases. This is certainly not hard science but I thought it would be interesting to note their route into music and any divergence from core prog. Their responses, and an attempt at some analysis, will be published in the next blog...

By ProgBlog, Feb 26 2018 09:12PM

A new, one-off live Old Grey Whistle Test appeared on our TVs at the end of last week and though largely unremarkable from a prog point of view, one of the sofa guests was Ian Anderson. The Jethro Tull front man had also recently appeared on BBC Four’s Hits, Hype & Hustle series of films, offering some insightful recollections on the music business, and now he’s appearing on the front cover of the current Prog magazine (Prog 85), with a fairly large proportion of the publication talking about Tull’s 50th anniversary and the 40th anniversary edition of Heavy Horses, due out in a few days’ time.

Ian Anderson, Prog 85
Ian Anderson, Prog 85

The vast bulk of the article below was published in June 2014 but it’s been updated and edited to reflect the ProgBlog experience during the intervening (almost) four years:

For someone who was into prog in 1972, my appreciation of the music of Jethro Tull came fairly late, even though my father used to whistle Living in the Past, which had been covered in 1971 by Canadian trumpeter Maynard Ferguson. From someone who would not infrequently refer to prog as ‘racket’, this was something of a revelation. He’d also whistle Light My Fire after José Feliciano's cover version won a Grammy in 1969.

Tull were originally a blues band but the proto-prog of Stand Up (1969) hinted at the direction they were about to embark upon. I think that this album, more than any other of the Tull canon, was responsible for influencing Italian prog bands. Though it represents the first of their albums that I like, the period between 1969 and 1982 is littered with hits and misses. Bill Burford was the first of my friends to buy any Tull albums, and he bought into them in a fairly big way. I appreciated the more lofty concepts, tongue-in-cheek or otherwise: Thick as a Brick (1972), A Passion Play (1973), Minstrel in the Gallery (1975) and from there got into the prog-folk trio of albums beginning with Songs from the Wood (1977). The first Tull album I bought was Heavy Horses, shortly after it came out in 1978. I’d actually gone into local store Blackshaw’s and bought a copy of King Crimson’s Earthbound but, finding the raw and bluesy 1972 version of Crimson just a little too raw and bluesy, I took it back and swapped it for the Tull; as a mooching teenager I wrote naff poetry and, along with the rocking title track and No Lullaby, I kind of liked the sentiment of Rover.

Stand Up (1969)
Stand Up (1969)

I’m not particularly a fan of Aqualung (1971) which may have been the first of their albums I heard, played at my friend Bill’s house. He also owned the compilation Living in the Past (1972) but I found most of the music uninspiring. I wasn’t the only one of my coterie to lack an appreciation of the full Tull catalogue and according to the music industry, I was partly responsible for killing music as I recorded tapes for my brother Tony to listen to while he was away at university. The following is an extract from a letter he wrote to me in September 1979:

There now follows a critique of “Thick as a Brick” which is based on numerous listenings and the rigid thought process of a closed mind. Show it to Bill as well. I don’t expect either of you to agree, as will become obvious!

In my opinion Tull have not progressed very far beyond this album with their later works (“Vocal recitals from the lignified angiosperm” and “Equine mammals of large mass” being the ones I have heard.) However, I shall not pursue that argument here, but may be induced to do so at a later date.

The vocals are a very important feature of this album and I suspect that they are present on about half the playing time. Unfortunately, I find them rather irritating. “Feeheeheeheeheeheeheels” or a similar variant ending many of the lines is not very imaginative and indeed becomes tedious quite rapidly. Mr Anderson’s aquistic [sic] guitar is undeniably jinky-jink, although his lack of inspiration here is redeemed to a certain extent by some excellent flute. The other musicians in the band are not really given many opportunities to demonstrate great virtuosity, because it is not that sort of an album. They are obviously competent, however. The drummer does get a solo – but then I’m not very enthusiastic about drum solos and anyway Bill would deny me the right to comment on his technique.

I feel that the strength of the composition throughout the album can be questioned. Much of the album consists of a few basic melodies, which are developed to a limited extent but not enough to maintain my interest. Other passages rely on rhythmic, almost mono-aural / monotonous (one sound!) thumps.

Both sides are a little disjointed, the second side possibly more than the first e.g. the progression on the second side through free-form jazziness, a quasi-choral passage, and classical guitar, direction eventually being established with a repetitive guitar riff and organ and vocal accompaniment. This leads on to the best part of the album – undiluted technorock, including a few unexpected bars of orchestral style – and played on strings – just before the end.

** (2 stars) Mike the Mod, NME

Mike says he doesn’t know whether or not to recommend his readers to “No Pussyfooting” instead. After all, it is much cheaper

I have to admit that Tony had a valid point about the ‘jinky–jink’ guitar, something we looked on with derision, and the "Feeheeheeheeheeheeheels” but, noting his use of the term ‘technorock’, a word we used to describe keyboard-led music before we actually heard the term ‘prog’, I think the use of organ makes the album. Tony also didn’t have the advantage of sitting with the St Cleve Chronicle in front of him, something that makes the album a genuine immersive experience. The subsequent A Passion Play was quite difficult going but worth the effort. Perhaps my favourite Tull album is the relatively unsung Minstrel in the Gallery. The title track has all the hallmark qualities of a prog anthem and the Ian Anderson-dominated acoustic tracks feel somewhat more mature than previous material, possibly because of its reflective nature; on a recent play of the album I was reminded of how good David Palmer was at string arrangements. Baker Street Muse is an almost side-long epic with its four subsections, and harkens back to both Thick as a Brick and A Passion Play territory. Spoken sections at the beginning and end of the album show that the band has not lost its sense of humour.

The folk-laden sounds of Songs from the Wood, Heavy Horses and Stormwatch include a more divergent keyboard set-up, as David Palmer joins the band as a second keyboard player but it’s the bouncy, up-front bass of John Glascock that is most different from preceding Tull (I don’t think he was really allowed to shine on Too Old to Rock ‘n’ Roll.) The pre-Christian references and ecological concerns of Songs from the Wood give way to political matters on Stormwatch (North Sea Oil, Dark Ages) and these in turn give way to more mundane matters such as 4WD on A (1980) as the band moved further away from prog along with prevailing musical tastes. Originally intended as an Ian Anderson solo album, hence the title, the line-up for A was a very different Jethro Tull which, with the recruitment of Eddie Jobson who had been supporting Tull on tour with UK, failed to deliver anything like the music which made up the back catalogue. 1982’s Broadsword and the Beast was a partial move back towards the late 70s prog-folk but the Anderson solo album Walk into Light (1983) and Tull’s Under Wraps (1984) embraced a much more contemporary sound that felt more akin to pop than prog. I saw Tull at the Royal Albert Hall during the A tour and again at the Hammersmith Odeon for Under Wraps and was disappointed with both performances; the last album from that period remaining in my collection is Broadsword, having given Under Wraps to my brother as my main medium switched from vinyl to CD.

I neglected all new releases for many years, though I continued to play the records I did own and supplement my collection with CDs of early material I didn’t possess, but my interest in TAAB2, released as an Anderson solo album forty years after Thick as a Brick, kindled by articles in Prog magazine, was realised in 2014 when I bought a second-hand deluxe edition CD from Si’s Sounds in Lewes. I’m not sure about some of the lyrics but the music was good and the concept of ‘whatever happened to Gerald Bostock?’ was quite entertaining. I file my CD of TAAB2 under 'J' for Jethro Tull rather than 'A' for Ian Anderson. The appearance of Anderson, playing a ‘best of Jethro Tull’ set at HRH Prog 4 in 2016 was one of the main attractions of the event and didn’t disappoint. His vocals may not be as strong as they once were but his flute, the other musicians and the set list were all excellent.

His recent TV appearances seem to have conferred something of an elderly statesman persona, though the Jethro Tull brand still persists with a UK tour commencing in April. During their 50 years, Anderson has always had the ability to express everyday things in a poetic way, whether it’s the ‘battlefield allotments’ next to railway lines or ‘newspaper warriors changing the names they advertise from the station stand’ and there are a number of themes that run throughout his work (he does seem to have a thing about trains.) However, it’s not only his lyrics that stand out for me. Perhaps out of all the prog bands that use flute, and there are a fair number from Moody Blues to early Crimson to Gabriel-era Genesis to Focus to Camel to Van der Graaf Generator and countless Italian bands, the first group you associate with flute is Jethro Tull.

By ProgBlog, Feb 20 2018 03:57PM

In the last blog I commented on how difficult it was to pigeonhole Portico Quartet who don’t really sit easily on a sliding scale between jazz and anywhere but need something else, another superimposed scale perhaps, to give more of an indication of how you might identify their music. I’ve just had a fairly intensive session listening to L’Ora di Tutti (Time for Everyone) by Italian band Muffx and, as with Portico Quartet, I really like their music but whilst they fall somewhere in the amorphous prog cloud, they also defy a strict classification, taking a dash of psychedelia, a dose of proto-prog, incorporating some heavy blues aspects that featured in a number of the early RPI bands, some blues-inflected keyboard prog like Greenslade, swing, and experimentation.

It came as something of a surprise to me that L’Ora di Tutti is their fifth album, although only three prior to this one have been released: ...Saw The... (2007), Small Obsessions (2009), and Époque (2012); the material making up Nocturno which was recorded after Époque was shelved following the untimely death of producer and friend Pierpaolo Cazzolla. The band was formed in Salento (Puglia) by guitarist Luigi Bruno (leader of the Mediterranean Psychedelic Orkestra and co-founder of the Sagra Del Diavolo, the Devil’s Festival) and garnered favourable press when they toured Italy to promote their debut album; a success repeated when they released their second and third albums; they’ve even toured in the UK and have played with special guests from the prog world, like Richard Sinclair (now resident in Puglia) Aldo Tagliapietra and Claudio Simonetti.

The album reflects the band’s geographical roots, with the title L’Ora di Tutti taken from the 1962 cult novel by Maria Corti about the Ottoman attack on Otranto on the eastern side of the Salento peninsula in August 1480. In the book, the event is narrated by five different characters, fishermen and farmers, so in effect it is five stories told in the first person, offering different perspectives that complement each other chronologically; presenting an alternative narrative of heroism and sacrifice in contrast to the official chronicles. There are subtly different cover graphics for the vinyl and CD releases by Massimo Pasca, who appears to be channelling images of hell like Coppo di Marcovaldo, Pieter Bruegel or Hieronymus Bosch, depicting the attack; it’s not a mainstream prog cover but does fit a ‘dark prog’ tag, a category firmly associated with Genoa’s Black Widow Records who co-produced and distributed the disc.

Opening track Un' Alba come Tante (A Dawn like Many Others) begins as far away from the sleeve artwork as you can imagine, with birdsong indicating the bucolic existence associated with the heel of Italy. The introduction of a deliberate flanged bass figure (played by Ilario Suppressa) and electric piano (courtesy of Mauro Tre) is reminiscent of early structured Pink Floyd; there’s a short, heavy fuzzed bass riff which resolves into a triumphant sounding, uplifting motif which is repeated on brassy synth before the riff changes style, becoming firstly more bluesy then jazzy with a swing beat provided by Alberto Ria. A walking bass line overlain with a synth solo has a very 70’s feel, like a subdued Greenslade, before a reprise of the ‘heroic’ riff that could have featured in the 70’s BBC TV series Gangsters (see Greenslade’s Time and Tide, 1975) with wah-wahed electric piano, finally ending with a section reminiscent of Barrett-era Pink Floyd. There are two guest brass players on the track, Gianni Alemanno who plays trumpet and Andrea Doremi on trombone whose contributions fit seamlessly with the piece, adding brightness rather than colour and enhancing the jazzy nature of the composition.

It’s a great start to the record, 11 minutes of predominantly riff-based music and some impressive but unflashy soloing. The constant changes prevent it from becoming boring and the bright riff which features near the start and is reprised later on in the track is a true ear-worm; I set off to work on Friday whistling the refrain and came back home still whistling the phrase! Only a minute shorter, second track Vengono dal Mare (They come from the Sea) quickly moves from the relative tranquility of wave sounds to vaguely disturbing guitar (think of the opening sequence of David Cronenberg’s cinematic adaptation of Crash by JG Ballard, scored by Howard Shore.) There’s a short spoken passage in Turkish by Gorkem Ismail which adds to the atmosphere without relieving the tension, then a short guitar figure before the introduction of a driving riff underneath a repeating keyboard figure and some more wah-wahed keyboard. There’s a slightly sinister edge to this track which reminds me of Goblin, so it comes as no surprise that Claudio Simonetti has played as a guest with the band.

Ottocento (800) features some great Farfisa organ, a keyboard tone not unlike the work of Rick Wright or Bo Hansson but any hint of Pink Floyd is covered with new additions, gull-cry guitar and other-worldly theremin. It’s the most psychedelic of the four tracks and possibly the least musically complex with stomping fuzzed bass and other fairly straightforward bass lines and rhythms, but there is some mesmerising highly reverbed guitar which sketches the outlines of a Middle Eastern scale.

Bernabei, named after an Ottoman soldier who doesn’t actually appear in Corti’s novel, is the shortest of the four tracks but following a deliberate, short, heavy riff that links to the preceding track, a fast Middle Eastern-scale guitar line is reintroduced and there’s some experimental early-Floyd jamming. A picked guitar motif is played over some Turkish text and then the guitar and synthesizer double up to play a fast eastern-sounding riff. The group switches between rock improvisation, jazz sections and the eastern riff, all played presto vivace and the record closes with a reprise of the eastern riff.

Written by Bruno and recorded live in the studio in two 10-hour stints after days of rehearsal, it’s possible to detect a sense of urgency about the music but it’s coherent and well played. I like the fact that the band has chosen a concept that relates to their home region, an examination of personal cultural history and an interpretation of what is regarded as a major literary work. The link to Goblin goes a bit deeper than occasional sections sounding like them; they had the idea of making the album as a soundtrack to an imaginary 70’s film of the novel, choosing instrumentation to match. This obviously adds to the prog sound but also puts Muffx in the Giallo category.

It’s prog, but it’s a mixture of heavy, Italian proto-prog (influenced by Deep Purple and Black Sabbath), psychedelia and jazz. It may be another ‘hard-to-pigeonhole’ album, but it's really good.

Muffx - L'Oro di Tutti (2017) BWRDIST 675

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