ProgBlog

Welcome to the ProgBlog

 

The possibilities afforded to composers since the birth of electronic instruments together with a willingness to explore different fields ensured that formal music progressed. The appropriation of classical music forms by rock musicians from the late 60s onwards marked the birth of progressive rock.

David Bedford was equally at home in both camps, at the forefront of a movement ensuring that all forms of music could be appreciated by everyone and anyone

By ProgBlog, May 29 2018 06:10PM

One of my Record Store Day 2018 purchases, that is one of the limited editions specially produced for the occasion rather than one of the albums I happened to buy as I wandered through the stalls set out in Cremona’s Corso Campi on the day itself, was a 40th anniversary edition of UK by UK. My original vinyl pressing of this album is in perfectly good condition and I think it’s a well produced record but I was seduced by the promise of the booklet and intrigued by the idea of an Eddie Jobson re-mastering; I’ve not listened to the original LP for some time so I can’t be certain but I think the individual instruments are more discernible on the new release – it has a nice clarity.



Eight years on from the birth of progressive rock in the form of In the Court of the Crimson King, the genre was getting a little tired and large numbers of the record-buying public were getting tired of prog. Not helped by self-imposed exile from the UK for tax reasons but surely driven by creative burn-out to a great extent, the hiatus between studio albums meant that the three really big players in the field slipped out of the music paper headlines and created a void to be exploited and filled by the standard-bearers for Punk, claiming that the excesses of prog indicated how out-of-touch these bands were.

It wasn’t enough to simply release a ‘best of’ (though Yesterdays, released in 1975 was really my introduction to the first two Yes albums and something I still like.) Following the completion of the British leg of the Relayer tour in May 1975, bar an appearance at the Reading Festival in August that year, there wasn’t another UK appearance by the band until October 1977, though all five members of the group issued a solo album. ELP might be perceived as being the worst offenders, not playing on UK soil for 18 years after their 1st May 1974 show in Liverpool and though they performed in Europe and the USA later in 1974, they were absent from the stage between 21st August 1974 and 24th May 1977 with only a Christmas single (I Believe in Father Christmas, Greg Lake, 1975) and a near-novelty single (Honky Tonk Train Blues, Keith Emerson, 1976) to satisfy their fans. Pink Floyd seemed to have managed fans’ expectations quite well, despite the length of time taken between The Dark Side of the Moon and Wish You Were Here, then Wish You Were Here and Animals and the lack of live dates, especially in the UK. Between 14th December 1974 and the first Wall show in Los Angeles on February 7th 1980, they undertook a three month long North America tour and then played Knebworth in July 1975, toured Animals around Europe including the UK with dates in London and Stafford and North America between January and July 1977. Two of the members also produced solo albums, David Gilmour and Rick Wright’s Wet Dream.


For my part, I was less satisfied with ELP’s Works Volume 1 and Pink Floyd’s Animals than I had been with their preceding records; Yes’ Going for the One was a radical departure from Relayer but I thought it was still high quality, with Awaken high up in the list of all-time great prog tracks. In the case of the former and the latter, I wasn’t over-impressed with the keyboard tones from the Yamaha GX-1 and Polymoog respectively; Animals featured far less keyboards than Wish You Were Here so that I hesitate to call it progressive rock. By 1977, other acts like Camel, Caravan and Gentle Giant had stopped writing epics and both Caravan and Gentle Giant had begun to lose their appeal to core fans; Focus seemed to have disbanded, having released an uneven album of studio scraps the previous year; and Genesis may have released Seconds Out but this coincided with the departure of Steve Hackett. I thought that the future belonged to jazz rock and bought my first Isotope LP.


Looking back, 1978 started on an exceptionally good note with the release of Bill Bruford’s first LP as a band leader Feels Good to Me and the eponymous debut from National Health, both records being examples of jazz sensibilities mixed with prog leanings which resulted in complex, melodious albums. I think Feels Good to Me has a more experimental feel, thanks to Annette Peacock’s vocals and using flugelhorn in a (broadly) rock context; National Health is more intricate and, in the tradition of the band’s forerunner Hatfield and the North, didn’t take itself too seriously.


A good way to start 1978 - National Health
A good way to start 1978 - National Health

Then came UK.

Following the demise of the trio version of King Crimson in 1974 which took Robert Fripp away from music for a couple of years, Bill Bruford and John Wetton continued their musical education by rotating through a number of different bands. I thought Bruford’s involvement with Gong and National Health were interesting and it was definitely quite pleasing to find him sharing a drum stool with Phil Collins for Genesis’ Trick of the Tail tour, as he appeared to be helping out all the right bands. Wetton’s move to Roxy Music and then Uriah Heep impinged less on my consciousness; I was never really interested in post-Siren Roxy and thought Uriah Heep’s music unadventurous. However, his touring arrangement with Roxy started before King Crimson officially ceased to exist . It was meant to be a temporary measure before Crimson was due to recommence touring, and served to introduce him to Eddie Jobson. The proposed 1977 collaboration between Wetton, Bruford and Rick Wakeman could have been amazing but its failure to get off the ground ultimately resulted in the formation of what was hailed as a ‘supergroup’: UK. Their eponymous debut is a slick progressive rock album with jazz rock styling thanks to Bruford and Holdsworth but the modern sound, courtesy of Jobson, made it seem quite different from long-standing progressive acts and newer groups from that time, like symphonic prog band England; the three-part In the Dead of Night is an indisputable prog classic though it’s only now that I’ve got the 40th anniversary edition, complete with lyrics, that I can distinguish the words. The song writing was mature, involving all the group members, leading to a truly coherent effort where equal weight was afforded to each individual and it’s my belief that this equality, the fluid guitar lines from Holdsworth, the power and precision of the rhythm section along with Jobson’s virtuosity on keyboards and violin, adding a contemporary feel but with a past tied to the early progressive era, that made the record stand out as something with significance for the whole genre, like a new In the Court of the Crimson King.




Jethro Tull’s Heavy Horses was also released in April 1978 and I really like this second offering in the prog-folk trio of albums, with an enhanced palette thanks to the guest violin of Darryl Way, though there was a distinct sense of continuity from Songs from the Wood rather than being something that stood out as unique. My copy of the LP, bought in Barrow, was a swap for King Crimson’s Earthbound which I had just bought but thought was disappointing. Thanks to the staff in Blackshaw’s for sanctioning the exchange.

Steve Hackett released his second solo album Please Don’t Touch which was quite different to 1975’s Voyage of the Acolyte, an album I rate higher than any post-Gabriel Genesis. I found it a bit of a mixed bunch and it’s that lack of consistency that marks it down – it’s not really UK progressive rock. Meanwhile, Hackett’s erstwhile bandmates released the decidedly thin end of the wedge ...And then there were Three... I first got a copy of Please Don’t Touch on cassette in 1981 or 1982 so I could also compare it to the excellent Spectral Mornings (1979); And then there were Three was acquired by a friend shortly after its release and I gave it a couple of listens before giving it the thumbs down. The seeds sown by the second-rate Your Own Special Way in 1976 were bearing a bitter fruit – Genesis could no longer be classed as a progressive rock band. Hackett’s other former colleague Peter Gabriel released the second of his self-titled albums which I don’t think can be called prog, either, though that doesn’t mean I didn’t like it. Rather, it was an example of what we might today call post-rock, very much a successor of the first Gabriel solo album. If prog was to wither away, this would provide a reasonable alternative; the highlight has to be Exposure.

Van der Graaf Generator shed an organist, a saxophonist and the ‘Generator’ for 1977’s The Quiet Zone/The Pleasure Dome, becoming more urgent sounding and, despite the excellent lyrics, more basic; it could even have been classed as prog-punk for sheer attitude. Bolstered with an appearance from David Jackson and with Charles Dickie on cello and synth, the group bade farewell (until the 2005 reunion) with a live album Vital. My brother went to see them in Leeds during that tour but it wasn’t until the reformation that I could really appreciate the intensity of the group. When I first saw Hammill performing solo in 1984 it was full-on but in a band context, it was off the scale.

Camel managed to keep one foot firmly in the prog idiom with Echoes and The Sleeper from their ’78 album Breathless but however good the melodies on the other tracks and the bright production, the relative brevity of most tunes makes it seem almost pop-prog descending into funk on Summer Lightning and outright silliness on Down on the Farm. This was another album bought by a friend at the time of its release but I don’t remember listening to it very often; I think we anticipated Peter Bardens’ departure because there appeared to be a tension between chief song-writers Bardens and Latimer, fuelled by an interfering record label, as they moved away from the early, classic Camel sound.

The cracks had not yet appeared in Yes but the cover of Tormato was a hint that all was not well. I bought the album on the day of its release, shortly before heading off to university armed with what I would discover was the best hi-fi in my hall of residence. I also managed to get to see them for the first time that October, in the round at Wembley Arena on the Tormato tour. The album contains some great ideas but the heavy-handed production detracts from the quality of the writing and the lack of a over-arching concept makes it appear devoid of a distinct identity. Taken on its own it doesn’t indicate the end of the golden era of progressive rock but it did suggest that Yes needed to rethink their future plans. The end of progressive rock was most starkly illustrated by Emerson Lake and Palmer with Love Beach. If the image on Tormato was a poor excuse for an album sleeve, the band photo on Love Beach was the antithesis of prog and that, more than anything else, meant I avoided the album until last year, and I only bought it then because it was cheap and I was filling a gap in my record collection. Even taking the best moments of Memoirs of an Officer and a Gentleman into account, it’s a really poor affair, succinctly exposing the true meaning of ‘contractual obligation’.


1978 ended with another National Health album, with a subtly different line-up to the debut but equally as good and, if anything, even more adventurous: Of Queues and Cures. National Health may get lumped in with the rest of prog but though the music conformed to many of the prog traits, the ease with which a substantial number of the musicians fitted into the British jazz and avant-garde scenes made them stand apart. Prog had withered without anyone to grasp the possibilities revealed by UK, whose 1979 follow-up Danger Money was a bit schizophrenic; reduced to a trio the material was a mixture of first-class retro-prog and verse-chorus-verse-chorus FM-friendly tunes played by progressive rock musicians.


The golden era of progressive rock was over.









By ProgBlog, Jan 2 2018 08:32PM

New Years Eve, 2017

It’s 7pm and I’ve just started the blog. I plan to go to bed early because I’m on call and I’m hoping that revellers don’t accidentally contribute to the strain on hospital A&E departments. Not a fan of this night, any year, because of the way it’s been hyped up by advertisers and the drinks industry and how it seems to have become accepted that on this particular occasion it’s OK to get totally wasted, my best new year was spent stargazing on the summit of a small drumlin on the Furness peninsula to mark the transition from the 1970s to the 80s.


Night sky over Furness
Night sky over Furness

TV has been awful this week. The BBC 24 hour news channel has been filling the gaps between genuine pieces of news with reviews of the year for Sport, Film, Deaths, Royals and so on, shown with a frequency that positively numbs so that it becomes difficult to work out which day of the week it is. Having gone to see Crystal Palace play today I can confirm that the football schedule doesn’t help with this feeling of dislocation; lucrative broadcasting deals mean that Premier League teams and their fans are at the mercy of TV executives so that this year, what used to be traditional Boxing Day fixture took place over three days and the New Year’s Day fixture is also due to be spread over three days. Throw in odd kick off times (Palace played at noon) and it’s also messing around with my circadian rhythm.


A couple of days ago we had the announcement of who appeared in the New Year’s Honours list. This is something of a end-of-year ritual and despite a promise to end cronyism, a concession wrung out by a public increasingly disillusioned with the way politics works, we end up with a knighthood for Tory kingmaker Graham Brady and another for ex-deputy PM Nick Clegg, whose lust for power facilitated 7 years of austerity, massive student debt and the impending destruction of the NHS. This ‘recognition’, though a little better than the obvious returning of a favour to Lynton Crosby in the list last year, reinforces the notion that politics is played by an elite for people within their own, tiny bubble and with little or no connection to everyday life. This is obviously not the case for all MPs but there are a number of parliamentarians (and, at a local level, councillors) who use their power and influence to manipulate policy so that it benefits themselves or their families; those with directorships of private health companies or the landlords of multiple properties, for instance. If there’s one burning issue of the times it must be inequality, whether that’s a lack of access to decent housing, decent social services and healthcare provision or decent jobs but, to the shame of us all, the gap between the haves and have nots is getting wider.


PM David Cameron and Deputy PM Nick Clegg (Getty Images)
PM David Cameron and Deputy PM Nick Clegg (Getty Images)

I find it obnoxious that the lies told during the Brexit debate have put the country in a position which exaggerates inequality; resentment at a lack of investment in former industrial regions, backed up with the spurious mantra that we’d ‘take back control’ was channelled into stoking anti-immigration sentiment and the subsequent devaluation of Sterling means that the increased cost of goods disproportionally affects the less well-off whereas the concomitant rise in share value benefits the already wealthy. It’s incredible that we can boast about the return of blue and gold passports (during the increased time in queues at customs, perhaps) swapped for seamless, invisible borders for exports and imports, and continue an archaic honours scheme which celebrates the achievements of some of the most inappropriate individuals. As for football, today’s Palace performance might have convinced me that it’s ok to get another season ticket for next year; the lack of application from players on silly wages at the beginning of the season felt like they didn’t care about the fans who pay to see them play, their earnings outstripping that of the average punter by some unholy figure.



Crystal Palace vs. Manchester City 31/12/17
Crystal Palace vs. Manchester City 31/12/17

I’m a bit torn by the awarding of any kind of prize where intangibles are weighed up by panels because everyone has innate bias; likes and dislikes. One of the rituals I used to go through as a youth in the mid-70s was to check the Melody Maker, NME and Sounds annual polls to see how the artists that I favoured fared. Some of the results ran counter to both my tastes and to reason, such as Gilbert O’Sullivan reaching no.2 in the Male Singer category and no.4 in the Keyboards category of the 1972 MM Readers’ Poll and I was somewhat bemused by some of the musicians ranked in ‘Miscellaneous Instrument’ because it didn’t tell you which particular instrument it was referring to for each artist and they could easily have been covered by one of the other categories.


The concept has been taken up by Prog magazine which, apart from holding an awards ceremony includes an annual 20 Top Albums of the Year feature where the results are culled from the preferences of the journalists themselves. Additionally, we were invited to vote in their annual reader’s poll, mimicking the format of the classic music papers during the 70s, with the results due out in the next edition. I’ve moved on a little since the 70s and though I don’t mind a list that is supplemented with a bit of information, the Top 20 Albums of 2017 as chosen by the writers at Prog magazine isn’t really my thing. However, I submitted some obscure choices for the Readers’ Poll so I will take a look at the published results.



New Year’s Day, 2018

After listening to one of my Christmas presents, the excellent Three Piece Suite retrospective by Gentle Giant, the first complete recording I’ve listened to for nearly a week due to work, football and family commitments, I thought I’d share some of ProgBlog’s category winners, based on material released in 2017 and the concerts I attended, material unlikely to get much of a mention in Prog...


Playing Three Piece Suite by Gentle Giant
Playing Three Piece Suite by Gentle Giant

(I got called out and got home a little before midnight)

Back to the blog. Tuesday 2nd January


Album of the year: An Invitation by Amber Foil

Strictly an EP, this is the creation of João Filipe, and it’s a wonderful, all-round and well balanced item. The music takes you back to classic 70s prog, blending very modern concerns with a kind of Grimm’s fairy tale. The quirkiness of the music is reflected in the CD packaging which also contains a ‘blueprint for a house’. It’s unique. Get yourself a copy.


Commended: Alight by Cellar Noise


Bassist: John Wetton

Wetton died in January 2017, the third original progressive rock bassist to pass away in the last couple of years. Whereas there are undoubtedly a large number of amazing technical players who were represented on record or I saw play live during 2017, the accolade has to go to Wetton for the unbelievably wide range of material he’s left for us, including some of the most inventive lines expressed during his time with the 1972 – 1974 incarnation of King Crimson. A great loss to the prog community.


John Wetton circa. Caught in the Crossfire
John Wetton circa. Caught in the Crossfire

Drummer: Franz di Cioccio

The only original member of PFM remaining in the band, di Cioccio now spends as much time behind a microphone acting as front man as he does behind his kit, but along with long-term associate bassist Patrick Djivas he’s steered the ship through periods of not-so-good music to produce their best album of original material for a very long time. Emotional Tattoos may not quite hit the heights of L’Isola di Niente and Photos of Ghosts (I think it lacks sufficient contrast) but the songs are strong and the playing assured. Di Cioccio’s boundless energy, with either sticks or mic stand in his hands, is something to behold.


Guitarist: Allan Holdsworth

Holdsworth is another progressive rock legend who died last year, though in reality he was probably more of a jazz guitarist whose fluid lines graced releases by Tempest, Soft Machine, Gong, Bruford and UK. Highly regarded by other guitarists, his style was idiosyncratic. He’s another fine musician who is sadly missed.


Keyboard player

There are actually too many excellent prog keyboard players to choose from. Of course it’s great to see Rick Wakeman performing classic Yes again with ARW but I’ve also been most impressed with up-and-coming talent from Italy like Niccolò Gallani from Cellar Noise and Sandro Amadei from Melting Clock.


Miscellaneous instrument: Mel Collins, King Crimson (flute, saxophones)

I’ve always considered this a category for non-conventional rock instrumentation, rather than picking a particular type of keyboard like Moog, Mellotron or synthesizer but it was fine when Mike Oldfield used to pick up the prize for playing everything. My preference for a prog-associated instrument not covered by bass, drums, guitar or keyboards is the flute, followed by violin; I was very impressed with Lucio Fabbri when I saw him with PFM and his playing on Emotional Tattoos is real quality but I’m going to plump for Mel Collins for his woodwind. Crimson may not have played the UK in 2017 but the set-list for the US gigs, released on vinyl and CD last year, highlights the formidable talents of Collins.


Vocalist: Emanuela Vedana, Melting Clock

I’m one of a fairly small number of people to have seen the two gigs by Melting Clock but I don’t imagine it will be too long before they reach a much wider audience when they release an album later this year. Their brand of symphonic progressivo Italiano would undoubtedly appeal to all fans of the genre, but two obvious reference points are Renaissance and neo-prog. The songs are highly melodic and well-crafted with multiple layers, utilising twin guitars and keyboards to set the tone for Emanuela’s strong, operatic vocals. Simply stunning.



Live act

Choosing a favourite live act is too difficult, so I’m not going to make a decision. I’ve managed to get to see quite a number of Italian bands from the 70s, including PFM at the fourth attempt, and seeing Wakeman, Jon Anderson and Trevor Rabin performing Yes music together was quite special, but it’s the surprises like Cellar Noise and Melting Clock, both of which included accurate early Genesis tributes in their sets, which make it impossible to decide on an outright winner.


Cellar Noise at the Legend Club, Milan
Cellar Noise at the Legend Club, Milan

Venue: Porto Antico, Genova

Choosing a favourite venue is equally hard. The acoustics inside neo-rationalist Teatro Carlo Felice in Genova are brilliant, but the architecture and the internal decor are terrible; the Royal Festival Hall is a great looking building, also with amazing acoustics but I was disappointed with the Dweezil Zappa set. I loved the intimacy of Genova’s La Claque whereas Rome’s Jailbreak Club was a bit too crowded over the weekend of the Progressivamente festival. Brighton Dome is a beautiful performance space though it can be a bit of a drag getting back from Brighton by car or public transport at the end of a gig.

A fantastic setting, good sound and a great line-up made the Porto Antico Prog Fest very special and it was only a 10 minute walk back to my hotel.









By ProgBlog, Dec 24 2017 12:17AM

2017 isn’t quite over but there will be a short break for ProgBlog over the Christmas period. As I type there are almost 900000 hits on the website, many of which might not be from individuals who stayed to browse but in the 45 months since the site was founded, the trickle of visitors per month has shot up, accelerating from a total of 174000 at the beginning of 2016 thanks in part to my adoption of twitter and a dedicated Facebook page, a strategy suggested by the hosts of a Guardian Masterclass in how to promote your website.

It can’t be denied that substantial proportion of music bought in the early to mid 70s, the so-called ‘golden age’ of the genre, was progressive rock, so prog wasn’t really niche because it produced some very successful acts though an observer of musical trends over the past 50 years might not think so. Fast forward to 2017 and proof that progressive rock is regarded as mainstream (or at least present and recognisable as something distinct) comes in the guise of BBC TV family quiz show Pointless series 17, episode 10, where the final round is about prog! Yet it’s hard to explain the resurgence of a musical form which attracted such vitriol at the end of the 70s, despite the fact that Prog magazine, after something of a scare this time last year, is once again thriving and obviously serving a large fan-base, and across in mainland Europe, the Prog Italia title seems to be doing well and publisher DeAgostini, in conjunction with the magazine, has started to reissue a massive series of classic progressivo Italiano records on 180g vinyl which are available from newsstands. So why exactly is prog currently in vogue when it’s not really commercial and therefore not attractive to major labels, and the struggle for bands to get heard above the competition is far more difficult now than it ever was in the 70s?


Prog goes mainstream (1) Pointless categories
Prog goes mainstream (1) Pointless categories

Prog goes mainstream (2) Pointless questions
Prog goes mainstream (2) Pointless questions

I don’t think the answer lies in 2017 but it was a year when trends seems to coalesce and were picked up by the media. This is certainly true of the vinyl revival story, despite the rise in sales commencing in 2014, if not a couple of years earlier and though vinyl isn’t restricted to prog albums, classic prog is linked to the popularity of the LP and even CD box sets now come laden with facsimiles of original sized album artwork and other goodies. Talking about the music helps enormously, whether in print like Prog magazine, via social media (where the prog community behaves more civilly than almost any other group), or at one of the increasing number of occasions where the fans are able to approach and interact with musicians face-to-face. However sad, it’s a fact that the protagonists are dying and though 2017 might have seemed less tragic in terms of numbers of recognised musicians who passed away compared to 2016, all we’re left with is the irreplaceable sonic legacy of John Wetton (who inspired me to take up the bass), Phil Miller and Allan Holdsworth. But their deaths got us talking, too. National newspaper The Guardian printed obituaries of Miller and Holdsworth and the Daily Telegraph carried an obituary of John Wetton; it is only right that we celebrate their music. As far as mainstream print media goes, I try to keep tabs on the number of mentions in The Guardian concerning progressive rock and it’s more than you might realise, from crossword clues to film reviews!


Allan Holdsworth obituary - The Guardian 19/4/17
Allan Holdsworth obituary - The Guardian 19/4/17

From a purely personal point of view, over the latter part of the year I’ve learned to test my boundaries a bit more. This has proved somewhat challenging because I’m someone who doesn’t use music as a backdrop to other activities as I like time to concentrate on what’s being played. On a number of occasions I’ve been asked to review (or at least listen to) some new music, which has come in a range of styles. I’m exceedingly grateful that my judgment is valued enough for complete strangers to contact me and take this as a vindication of my opinions aired via the blog and associated bits of social media. I’m sure that a graphical representation of my particular tastes would result in a normal distribution curve but the wide spectrum that makes up prog means that some of this material was going to be right up my street and some was less likely to appeal. For anyone who has sent me links to their music, please be patient; I think that the promotion of prog music is a worthwhile pursuit and I will get around to writing about it however, I do have a daytime job which sometimes carries on out-of-hours.

The point is that once I’ve agreed to give something a listen, I can’t just play it in the background while I’m doing the ironing or reading my daily newspaper and then come up with an opinion, I have to really listen and pick out moments which I like and explain why I like it. I approached Process of Illumination’s Radiant Memory with a degree of trepidation because when I read their influences I genuinely thought it wasn’t going to be my cup of tea. After repeated listens I could really appreciate the guitar and keyboard interactions and maybe they did have a metal edge, but they also had a good ear for a melody and mixed adventurous complexity with ambient washes. On the other hand, An Invitation by Amber Foil sounded and looked like a slice of 70’s prog and got me hooked instantly, and then proceeded to pull me deeper into a dark and vaguely disturbing storyline; though only an EP, An Invitation is my album of the year. Dam Kat’s Alawn mixes Kate Bush with Pink Floyd and Steven Wilson and adds a dash of traditional Breton music and the result is very pleasing, so I’m glad that I was invited to listen to it; the music of Dublin’s Groundburst was new to me, despite a back catalogue of EPs stretching back 10 years, with their latest EP Triad frequenting ground shared between prog and math rock, and though a full-length album due to be released next year will include much of their devilish complexity, it’s also rumoured that lengthier tracks will allow for more symphonic development; Seattle-based Gaillion are another band I’d describe as outside my old comfort zone with a more concise approach but I can’t help but admire their musicianship and rhythmic invention on their latest CD Renewal and Release; Servants of Science from Brighton and Hats Off Gentlemen It’s Adequate from London have both covered exceptionally deep concepts on The Swan Song and Broken but Still Standing respectively, the former about an astronaut witnessing the end of the earth from space, and the latter following the story of human evolution from the last universal common ancestor to conflict and finally symbiosis with artificial intelligence. Both are cinematic but The Swan Song tends towards haunting alt-rock and Broken but Still Standing is more in the mould of Floydian soundscapes, aided by really gorgeous flute. Both are well worth seeking out.


2017 saw me manage multiple trips to Italy where I witnessed the first ever gig by the much admired Ancient Veil, in their home city, and became one of only a couple of hundred people to see the first two performances by Melting Clock. This young Genovese band may not have released an album yet but their symphonic prog is brilliantly structured and possesses an enviable accessibility, so I’m pretty sure they’re going to do well. Another young band who did release their first album was Milan’s Cellar Noise with Alight. This harks back to classic 70s Italian prog, even though it’s sung in English and the concept is based around stations on London Underground. I caught their show at Milan’s Legend Club, part of the Z-Fest, and bought the CD immediately after they’d completed their set. I actually took in two major prog festivals over the course of the Italian summer; the Porto Antico Prog Fest in Genova and Progressivamente in Rome. The former was an international affair organised by Black Widow Records where Melting Clock debuted, and the totally free Progressivamente festival, held over five nights, featured established bands (including some which had recently reformed), presenting an unmissable opportunity to catch up on incredible music from the last 45 years. The last trip to Genova included a night at La Claque where Ancient Veil played unplugged; Melting Clock played gig no. 2 and wowed the crowd; and Phoenix Again demonstrated their quality with a brand of jazzy/heavy/symphonic/complex prog. I stayed in the city for a couple of extra days because PFM were performing at the Teatro Carol Felice and I’d managed to get a ticket.



I don’t really speak Italian so I’m indebted to all the people I met to discuss prog for kindly resorting to converse in English. This list includes a whole host of musicians from Melting Clock, Panther & C, Phoenix Again and Ingranaggi della Valle, the friendly and knowledgeable staff from Black Widow Records, promoter Marina Montobbio, and audience members at the gigs like Vincenzo Praturlon and the cousin of Semiramis bassist Ivo Mileto. Part of the attraction of Italy is seeking out record stores in the different cities, where once again communication was in English, otherwise we couldn’t have had any sort of sensible conversation. Guidance and expert advice from Genova’s Black Widow comes as part of the package but new shops were discovered in Como (Frigerio Dischi, Alta Fedità); Savona (Jocks Team); and Rome (Elastic Rock, Millerrecords).

Wandering around record stores in the south east has been a major feature of the latter part of the year. There’s a shop just around the corner of my road which I recently discovered sells second-hand vinyl but the best find is a short tram journey away, Wanted Music in Beckenham where proprietor Adriaan Neervoort keeps a wide stock of prog and electronica, in great condition and at market rates. I’ve discovered it’s often worth popping into charity shops where amongst the James Last and battered classical LPs you might find the odd gem for £1 or £2, like my French version of the Chariots of Fire soundtrack and the Synergy album Electronic Realizations for Rock Orchestra. Then there are the flea markets...


Wanted Music, Beckenham
Wanted Music, Beckenham

I attended a few gigs on UK soil, the most anticipated of which was Anderson Rabin Wakeman who I went to see in Brighton, but the highlight of the year was the Pink Floyd Their Mortal Remains exhibition at the Victoria & Albert museum, an in-depth historical perspective of the band using their music and a wide range of personal and band artefacts, providing a must-see experience for any Floyd fan.



That’s 2017 in a nutshell; good bits and low points. It demonstrated that prog is still going strong and I’ve already got some events lined up for next year... Prog on!











By ProgBlog, May 7 2017 06:11PM

When my son was young we had family membership of both English Heritage and the National Trust and some part of most weekends was spent on outings to properties and gardens in the south east, with occasional forays into the north west when we returned to visit my family. Our subscriptions lapsed when Daryl became an adult; not only would this have incurred extra cost but we also saw less of him when he graduated and went off to do a Master’s degree in Oxford and then went to work in Australia for 18 months.

Remarkably for someone who graduated after the global economic meltdown, his career is based on his academic choices, architecture and historic conservation, and it’s this calling which has rekindled our interest in wandering around London in search of bits of fascinating architecture and design. When I first came to London in 1978 I roamed the streets from Notting Hill to Holborn looking for sites both off and on the tourist radar and, after almost weekly trips for three years, I considered myself well acquainted with the capital. This obsession with exploring the urban environment was an extension of my behaviour in Barrow, where almost all accessible and many (theoretically) inaccessible parts of the Furness peninsula were forensically investigated, inviting derision from anyone outside of a close circle of friends. Genetic or environmentally influenced, Daryl’s fixation with seeking out architectural gems means his knowledge of London’s streets is far better than mine ever was.

On a recent trip to the Design Museum in Kensington, a must for lovers of modernist architecture or anyone with a curiosity about the history of design, we stopped off at Café Phillies for a coffee and some lunch. I was intrigued to see a minibus pull up outside, the London Rock Legends Tour, on a stop to visit Bill Wyman’s Sticky Fingers restaurant which is opposite Café Phillies in Phillimore Road. I’m sure there are plenty of music-related sights, from the Abbey Road zebra crossing in St John’s Wood to The Hendrix/Handel museum in Brook Street, Mayfair, but it can’t be easy planning a sightseeing tour in London by road; the roadworks and sheer volume of traffic are hardly conducive to a strict schedule.



Inside the Design Museum
Inside the Design Museum

I was amazed to see the Yes logo on the side of the bus, along with more rock ‘n’ roll acts but, as the itinerary takes in pubs and clubs, it could be that there’s a stop at what used to be La Chasse at 100 Wardour Street, just down from the old Marquee. Writing songs about a particular location is nothing out of the ordinary but it tends to be a bit of a rarity in progressive rock; The King Crimson improvisations given the title of the town or city where they were recorded don’t count, whereas Egg’s A Visit to Newport Hospital (on the Isle of Wight) from The Polite Force (1971) is an excellent example – at this point it’s pertinent to mention that former Egg drummer and Pink Floyd drum tech Clive Brooks died last week, another loss to the progressive community.

I decided to challenge myself and go through my collection in search of London-themed compositions, requiring lyrics about the place, to see if it was possible to put together a virtual tour of physical locations, streets or landmarks which warranted a mention somewhere in the prog catalogue.

Public transport may have its problems but a combination of rail, tube and foot is by far the best way to move around the city and coincidentally, the tube map turns out to be a good place to start looking. Crimson’s Doctor Diamond from the Red-era, a song that never managed to get a studio release, doesn’t mention a place despite the reference to an ‘underground train’. I’d always assumed it was a New York subway train because Fallen Angel from the same cohort of songs is set in New York, but there’s every possibility that it’s London Underground, with a capital ‘U’. The most comprehensive reference to London Underground is on Alight, released earlier this year by progressivo Italiano Cellar Noise, where apart from the track Underground Ride, other songs are named after District and Circle Line stations Embankment, Temple, Blackfriars and Monument. This remarkable debut effort is a concept album where the narrative takes place somewhere between the real world and the imagination of the protagonist who, stuck in the monotonous grind of the daily commute through the underbelly of London, who suddenly finds a reason for existence. Musically and lyrically there are parallels with Genesis, from the Trespass-era to The Lamb Lies Down on Broadway (another New York-themed album) and the opening track on the album, Dive with Me is stylistically and harmonically linked to Foxtrot. It comes as no surprise that the play The Knife at gigs as an encore.



Genesis name-checked Epping Forest on Selling England by the Pound, a remnant of ancient woodland straddling the Greater London-Essex border where Peter Gabriel set his fictitious skirmish between rival East End gangs, apparently inspired by a piece in a newspaper that he’d read some years earlier. As much as I like this track, the piece has so much going on that when you include the four-minute instrumental After the Ordeal, it feels as though it’s taken up the entire side of the record when you’ve still got the ten-minute Cinema Show to come! Epping Forest is served by a number of stops on the Central Line and Forest Road, lined with its luxury cars (according to the song) heads into the forest from Loughton.

Also on the London Underground network is Turnham Green, served by the District and Piccadilly lines. This appears in Suite in C from McDonald and Giles’ self-titled album released in 1970, as a sub-section of the 11’40 mini-epic. This is a love song dedicated to Charlotte Bates, where the Turnham Green lyrics refer to the first time McDonald set eyes on Bates and the tube station where she disembarked. Besotted, McDonald placed an advert in International Times and remarkably, this was spotted by Bates’ friend who had been on the tube with her. It’s not really like Crimson but Michael Giles’ jazzy drum patterns do call to mind his work with his former band and his brother’s bass wouldn’t have been out of place on anything by the Crims; the subject matter is quite different, giving a more Beatles-like feel to the track.



Perhaps there’s a link between London geography and songs by King Crimson alumni. The UK song Nevermore, from their first album is about Soho, though it doesn’t relate to one particular location. Lyrically, it appears to be thematically linked to In the Dead of Night; commencing with some beautiful Allan Holdsworth acoustic guitar, it’s an altogether underrated piece with changes of dynamics and an experimental middle section. If Nevermore is a little hazy in its precise location, Rendezvous 6:02 from subsequent UK album Danger Money describes both time and place. When I first arrived in London I used to use the Sidcup branch of the railway from Charing Cross to Dartford, because my hall of residence was in North Cray, between Sidcup and Bexley. Stopping at Waterloo East, this journey afforded an excellent view of the (now Grade II Listed) Victory Arch leading into the main Waterloo Station. Built from Portland stone and completed in 1922, I find it an ugly piece of architecture but it relates to one of the most memorable UK songs, the poignant Rendezvous 6:02, which first describes the car journey from Hyde Park to Waterloo before specifically mentioning the arch itself. It was always a favourite pastime reviewing the departures timetable for trains leaving at two minutes past six in the evening and the last time I attended a talk at the nearby BFI, I deliberately arranged to meet Daryl at 18:02 under the arch.

It may not be part of the Underground network but Bill Bruford wrote the tune Palewell Park for the last of the Bruford albums. I’m labouring the point here, but this location, like the somewhat lengthier (in terms of both track timing and ground dimensions) Hergest Ridge was to Mike Oldfield, was evidently very inspiring to Bruford who lived close by in East Sheen and it's surprising because it's a piano-bass duet!.



Ian Anderson dedicated almost a full side to Baker Street on Minstrel in the Gallery, and Fulham Road features in A Passion Play. Of the former, which also mentions Blandford Street and Marylebone Road, this is the district inhabited by Anderson during 1974, making observations of everyday life in London W1. It’s possible that some of the lyrical content reflects some of the rehearsals for the album, where Anderson took on a great deal of the work as his fellow band members entertained themselves around Monte Carlo; there’s certainly more of a singer-songwriter feel to parts of the album, more acoustic guitar and less flute, but it remains one of the high points of the Jethro Tull canon. I’m less convinced about A Passion Play, particularly the use of saxophone and synthesizer, although the storyline is rather good. Is Fulham Road referenced because Brompton cemetery is close by?



Returning to modern prog, Big Big Train recite the names of underground and former waterways in Lost Rivers of London, from 2016’s Folklore. Citing Old Kent Road and Turnagain Lane (off Farringdon Road), there is much to be admired in their approach which reconnects modern, melodic prog with the importance of the roots of the genre. With the Fleet, the Tyburn, the Neckinger, the Westbourne, the Walbrook and the Effra, there are plenty of places to put on a progressive rock map of London.

...and there are a number of mews around Baker Street!







By ProgBlog, Apr 30 2017 11:20PM

The Crystal Palace was originally built in Hyde Park for the first World Exposition in 1851, a structure designed to be temporary with the exhibition, themed around the industry of all nations, lasting from April to October that year. The success of the venture, attracting 6 million visitors (and subsequently spawning a litany of world fairs, the most recent of which was Expo 2015 in Milan) prompted architect Joseph Paxton to look for a permanent home for his Crystal Palace. He had tried to have the building remain in Hyde Park but, aware that there was considerable opposition from within parliament, he busied himself raising £0.5m to form a company to buy the building and a new site for its reconstruction. The materials that made up the structure were bought from building contractors Fox and Henderson (who had lowered their original Hyde Park bid in return for ownership of the materials when the structure was dismantled at the end of the Great Exhibition); the land chosen was an area of wooded parkland on Sydenham Hill and the Crystal Palace reopened in 1854.


Joseph Paxton
Joseph Paxton

The remains of the Crystal Palace, which burned down in 1936, are in the suburb of Upper Norwood, an area falling into four London Boroughs: Bromley; Croydon; Lambeth and Southwark. I moved to Upper Norwood from Balham while working at the Blood Transfusion Centre in Tooting. During 1985 I shared a basement flat in Colby Road, opposite Gipsy Hill railway station, with fellow Barrovian Eric Whitton; my friend Jim Knipe lived on the ground floor with his girlfriend Amanda. I’d shared a flat in Beechcroft Close, Streatham with Eric and Jim during my last year at university, so this was something of a reunion. From bass/guitar/reed organ/tin plate jam sessions in 1981, with the recruitment of Alistair Penny in 1984 we evolved into BCC2 and in 1985, augmented by vocalist Shirley Singh, became HTLVIII and played a fifteen minute set on each of three nights as part of a community revue. This fledgling outfit fell apart because Eric moved out to Clapham and my bass was stolen when the flat was burgled while I was on holiday in Tenerife.



HTLV III  in 1985
HTLV III in 1985

A further Crystal Palace - Barrow connection was future Hairy Biker Dave Myers, another Goldsmiths’ graduate who lived a short way up Gipsy Hill. The cost of renting Colby Road wasn’t too high in the overall scheme of things, but the facilities were challenging. The bedroom, at the back of the flat, was rarely blessed with sunlight and was consequently somewhat cold, though it was apparently ideally placed to receive a Sunday morning pirate radio show, Alice’s Restaurant, despite the transmitter being somewhere in ‘East London’. Alice’s Restaurant became London’s biggest rock station but at the time I discovered it, I was only interested in the two hours of progressive rock that I could pick up on my Technics SA-101 receiver on Sunday mornings, where I first heard Caravan’s Nine Feet Underground in full and promptly set off to buy the Caravan collection Canterbury Tales which included that particular masterpiece.

At the time, Upper Norwood was hardly the most salubrious of areas but it had all the right amenities. Gipsy Hill station was very convenient for trips into London and I could use it to get to work on the days I was too lazy to cycle (Gipsy Hill is long and steep!) and there were some good pubs selling good beer (the Two Towers at the bottom of the hill and the Railway Bell half way up were regular haunts); the library on Westow Hill was extremely useful; the Tesco supermarket where we’d donate food to the families of striking miners; some good restaurants (Joanna’s and The Penny Excursion, the latter frequently changing hands and cuisine after I left the area); and Crystal Palace Park, including the site of the former Crystal Palace with its poorly barricaded entrance to the undercroft of the former High Level Station, a hidden vaulted space of beautiful Victorian brickwork (Grade II listed) and, for fans of palaeontology, the dinosaurs on islands representing different geological eras on the lower reservoir, creating a snapshot of paleontological understanding in the mid 19th century.




Crystal Palace dinosaurs
Crystal Palace dinosaurs

My time at Colby Road drew to a close when the shower in the ground floor flat above leaked into the hall and my hot water pressure became so low it wasn’t practicable to run a bath. The landlord was an unpleasant individual who wasn’t interested in getting things fixed, so I eventually left in the middle of one night and stopped paying him any rent.

Crystal Palace Park was also home to the National Sports Centre and athletics track. A couple of my school friends had spent some time training there in the mid 70s and I became a member for the squash courts and still play there today, though I now better appreciate the brutalist architecture (Grade II* listed) and the concomitant egalitarian nature of the facility, bringing affordable leisure facilities to local residents; a new People’s Palace on the site of the old. The FA Cup used to be held on the football pitch which was where the athletics stadium now stands and Crystal Palace FC used to play there from when they were founded in 1905 until they were relocated due to WW I and moved to current ground Selhurst Park in 1924. I’ve been supporting them, through all their ups and downs, since 1995.

Crystal Palace Bowl was the venue for the Crystal Palace Garden Party between 1971 and 1980, originally a concrete semi-dome structure with a small lake in front, located in a natural amphitheatre at the northern end of the park. Pink Floyd played there in 1971, featuring a band-only version of Atom Heart Mother and famously killing off all the fish in the lake when they attempted to inflate a giant octopus, pumping smoke into the water. Yes performed there in 1972, which must have been one of the first gigs for Alan White, and Rick Wakeman performed Journey to the Centre of the Earth during the 1974 Garden Party, where he used inflatable dinosaurs during The Battle but more dramatically, was admitted to hospital the day after the gig having suffered three minor heart attacks. He had intended to perform there again in June 2012 headlining a one day rock festival, but there were structural concerns over the stage and the event was cancelled.



This neatly brings us to the present. Upper Norwood has undergone something of a renaissance since the opening of the East London Line of London Overground in 2010. This linked West Croydon and Crystal Palace in the south to Dalston Junction in the north, via Surrey Quays and Canada Water. The ease of the commute to the City meant that the area was a prime site for gentrification and property prices were relatively low in the down-at-heel suburb; the parallels with Shoreditch (the Overground stops at Shoreditch High Street) are quite remarkable and it’s evident that hipsters have marked their territory around the Crystal Palace Triangle and that some of the old businesses have adapted to meet their needs. There used to be a rambling flea market down from Westow Hill, where amongst other things I picked up a copy of the 1972 debut LP by Tempest, featuring the extraordinary talents of the recently departed Allan Holdsworth. On the site of this former bazaar is Crystal Palace Antiques, where my wife likes to pick out reasonably priced art-deco items and I like to ogle the modernist furniture, at unreasonable prices, on the lowest of the four floors. There had been a spate of pub closures in the area but there’s now an even better selection, covering a huge range of real and craft beers. There used to be an ‘open mic’ gig every week in the White Hart (on the corner of Westow Street and Church Road) to which a friend from squash, a Brazilian drummer, invited me and although I brought along a plectrum, I felt I was too rusty to participate and I knew very little of the music they played.

There are a multitude of cafés and bars where it’s easy to find a decent lunch and a good coffee but there are also a couple of excellent second-hand record stalls. One is in Hayes Lane Market, a well kept secret just off Westow Street. Hayes Lane is a narrow, mews-like street where the terraced houses are resplendent with blooms and the market is a genuine flea market where it’s easy to while away many hours; the other is in the less well developed Church Road in the basement of Bambinos. Bambinos is run by Andy Stem and has been around for over 20 years, perhaps most famous for its leather jackets (the photo of Kate Moss by Mario Testino for Vogue.) Best of all, downstairs from the eclectic mixture of items that spills out onto the street, is the vinyl basement, run by Mark Hill of the Crystal Palace-based electronica trio Metamono. My most recent visit yielded the first two Steve Hackett solo albums, Voyage of the Acolyte and Please Don’t Touch; Alan White’s solo debut Ramshackled; the first Sky album; Phaedra by Tangerine Dream and an early copy of Switched on Bach. Mark Hill commented on Phaedra, suggesting he had been interested in buying it himself, and the connection with the excellent sub-section for electronica became clear; the last time I was there, about a year ago, I bought a copy of Aqua by Edgar Froese from a consignment of vinyl that hadn’t made it downstairs to the basement

I retain an affection for Crystal Palace; the record shops, the sports centre, the remains of the former palace, the football team. A great deal has changed since I lived there but it’s a much better place to visit now, and much easier. The local history is fascinating but better still, there are some genuinely friendly people who feed into the vibe, whether they’ve recently arrived or have been around for some time. It’s an uplifting atmosphere, very prog. ...Must be the prevailing wind from the coast...












fb The blogs twitter logo HRH Prog 4 Line Up (F+B) Keith Emerson at the Barbican My Own Time