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The phenomenon of inconsequential chatter during a gig has the ability to kill an occasion.

There are times when it's ok to be noisy but a concert venue auditorium during a performance is not one of them. Fortunately, ProgBlog's latest stop on the gig marathon to see Hats Off Gentlemen It's Adequate and Servants of Science was populated by music lovers...

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, Jul 3 2016 09:20PM

I’ve just taken receipt of the Anderson/Stolt LP Invention of Knowledge and, sitting in my Barcelona chair with the gatefold sleeve open in my hands, I’m transported back to the mid 70s.


TV plays a balanced part in my life although the ability to call up 24 hour news or watch catch-up programmes on mobile devices means that breaking news or doing something else the same night that Brian Pern is scheduled means I never miss anything I want to see. In reality, programmes I’m missing in real time are conveniently recorded on a TiVo box and I get pretty sick of 24 hour news streaming where the anchors frequently have to ad-lib as some sort of live action reaches an impasse and the scrolling red ribbon runs on an ever quicker cycle, complete with uncorrected spelling errors. I think there are too many channels, most of which peddle meaningless nonsense, cheap programming and repeats. I may have watched a little too much TV in the 70s but at least broadcasting was restricted to three terrestrial channels where, despite the airing of tired, formulaic situation comedies and crass game shows, it appeared that on the BBC at least there was some thought about what was shown.

I was at the BFI on London’s Southbank on Thursday, attending a very enjoyable presentation called Transport as Architecture: Ballard to Banham that featured three short films: Crash! directed by Harley Cokeliss from 1970 that featured JG Ballard himself along with Gabrielle Drake (who I remember as Lieutenant Gay Ellis from Gerry Anderson’s UFO which ran from 1970-1973); The Thing Is... Motorways, part of a 1992 Channel 4 ‘talk show’ series by Paul Morley which also included short contributions from JG Ballard; and Reyner Banham Loves Los Angeles from 1972, in which the writer, critic and Professor of Architectural History drove around LA in search of interesting features to show to tourists. Both Cokeliss and Morley were present to introduce their pieces and, despite his writing for the NME from the mid 70s to the mid 80s, I hold a sneaking admiration for Morley, not because he’s a northerner (he was born in Farnham, Surrey), but because he has some interesting things to say and his taste in music is pretty eclectic; I thought that some of the music that accompanied his documentary, a short piece of electronica, was like a Mancunian take on Kraftwerk’s Autobahn only inspired by the Preston by-pass section of the M6. Before the films I flicked through a somewhat small collection of soundtracks on re-released vinyl in the BFI gift shop and, alongside Mike Oldfield’s soundtrack to the harrowing The Killing Fields, was an LP from the BBC Radiophonic Workshop.


The Radiophonic Workshop was a revolutionary sound effects unit created in 1958, originally to provide sound effects for radio programmes which became most famous for recording Ron Grainer’s Dr Who theme in 1963. The creators and contributors included trained musicians with an appreciation of musique concrète and tape manipulation and their rooms at Maida Vale are reported to have looked more like an electronics laboratory than a routine recording studio. The pioneering work was carried out by some memorable names including Daphne Oram and Delia Derbyshire. A synthesizer designed by Oram, where sounds and compositions were produced by drawings, featured in BBC Technology news last week and forms the centrepiece of an exhibition Oram to Electronica at the Science Museum in London. A mini-Oramics machine, based on original plans but never completed during her lifetime, has just been completed by a PhD student from Goldsmiths College and though there are now apps that mimic the principle it predated sequencing software and, if the machine had been available in 1973, it could have changed the way music was taught and performed.

Strange electronic noises are very suited to science fiction and the inception of the Radiophonic Workshop coincided with the rise in popularity of SF, from radio serials Quatermass and the Pit to Douglas Adams’ immensely popular Hitchhiker’s Guide to the Galaxy which later translated to television, as well as shows like Dr Who.

One area where the BBC excelled was in its children’s programming. I distinctly remember a drama series, based on a trilogy of novels by Peter Dickinson and first broadcast in 1975 called The Changes. This near-apocalyptic vision was notable for its pro-integration message, being one of the first programmes to feature Sikhs, making it genuinely progressive. The excellent theme music was by Paddy Kingsland of the BBC Radiophonic Workshop which I seem to recall was available as a 45rpm single, but which wasn’t stocked by any of the record stores in Barrow. The long-running Blue Peter which at one time featured Barrovian Peter Purves (I used to deliver papers for his parent’s newsagents on the corner of Oxford Street and Furness Park Road) included an updated theme tune performed by Mike Oldfield that was available as a single, reaching no. 19 in the charts in 1979 and raising money for the Blue Peter Cambodia appeal. Another BBC children’s programme was Horses Galore, presented by Susan King which had a relatively short run, from 1977 to 1979. I’ve got no idea why I would watch a programme about horses, not being interested in equestrian pursuits and having once been bitten on the shoulder by Nicola Richardson’s horse, but the theme music was Pulstar by Vangelis from Albedo 0.39 (1976).

There was a lot of instrumental progressive rock around at the time and I thought that some of this should be used for items on BBC TV’s regional news and current affairs programme Nationwide that was shown immediately after the early evening so I wrote to them in December 1976, prompted to put pen to paper because I’d detected a snatch of Echoes on Jacob Bronowski’s seminal series The Ascent of Man, providing them with a list of suggestions. I don’t believe they took any notice but I did get a standard postcard in reply.


I was reminded of this when I read Rick Wakeman’s programme notes for his recent appearance at the Stone Free Festival; the Arthur theme was used by the BBC for Election Night specials on a number of occasions, a very fitting use of the music.

Yorkshire TV, one of the Independent Television company franchise holders ran a science-based show called Don’t Ask Me from 1974 to 1978 which used House of the King by Focus as a theme tune and exposed panellists David Bellamy (botany), Miriam Stoppard (medicine) and Magnus Pyke (natural sciences) to a wide audience. Pyke came across as the archetypal mad scientist and it was his unforgettable manner that was largely responsible for the success of the series, such that a large proportion of my generation will think of Don’t Ask Me rather than Focus when they hear the song.

Holiday was a long-running BBC programme that began in 1969, featuring reports from holiday destinations around the world. I think it was broadcast on a Sunday in the early evening and it was therefore something that could be watched while eating an informal Sunday tea. I’d bought Gordon Giltrap’s Visionary shortly after it was released in 1976 and bought the subsequent album, Perilous Journey when that came out in 1977. It was a bit of a surprise to hear Heartsong used as the theme tune for Holiday ’78 and it continued to be used until replaced by an unpopular piece by Simon May in 1985. Interestingly, the ITV holiday reviews show Wish You Were Here? (essentially a rip-off of Holiday) used Giltrap’s The Carnival as a theme tune.

One of the best original theme tunes was by Greenslade for the gritty BBC crime drama Gangsters (appearing on Time and Tide, 1975.) I think I saw the programme before hearing the album, immediately recognising the twin keyboard work of Daves Greenslade and Lawson. Set around Birmingham and originally a one-off Play for Today in 1975, this was the most lifelike screen violence I’d seen and was genuinely gripping.

Like The Changes, it’s a lost gem with excellent title music.







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