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ProgBlog goes to the Biennale Architettura 2018 in Venice but still manages to find prog connections - and a relatively new record store...

By ProgBlog, Aug 13 2017 09:44PM


Canterbury Cathedral
Canterbury Cathedral

A cultural hot-spot in the middle of a largely agricultural county, (Kent was, up until 2006 when it was deposed by North Yorkshire, described as ‘the Garden of England’ thanks to a dish of Kentish cherries which particularly satisfied King Henry VIII) Canterbury is a city of surprises. Since geography lessons in the early 70s I had always assumed that the description ‘Garden of England’ was associated with agricultural output but the criteria now applied are much wider than the initial fame for orchards and allotments which won Kent its title. They now include scenery, hidden corners, village traditions and the variety of wildlife and Kent has lost its place because of perceived congestion, pollution and the adverse affects of over-building, plus a derogatory view of young, less-well off fashion slaves who, it is alleged, first appeared in Chatham; even the Channel tunnel rail link was considered to be a negative factor.

Most recently and dramatically, this provincial city which had returned a Conservative MP since the constituency was created in 1918 (prior to that it was the Canterbury borough where up until 1885 there were two seats) elected a Labour MP, Rosie Duffield, with a 45% share of the vote. Duffield ousted sitting MP of 30 years, Sir Julian Brazier by 187 votes. This stunning victory was due to two factors, the candidate herself who seems genuinely liked by the constituents, and the student vote – Canterbury is a university city and young people have been reconnected with politics thanks to Jeremy Corbyn’s vision that there is a viable, alternative way of running the country. The promise of ending tuition fees was seen by some as a bribe but it’s clear that the current system for student finance is working neither for the students nor the loans company itself, with half of all students unlikely to pay back their loan in full and it has been argued by people like Peter Scott, professor of higher education studies at the Institute of Education and former vice-chancellor of Kingston University, that ending student tuition fees makes both economic and social sense. Furthermore, reneging on the promise would have been electoral suicide for Corbyn; does anyone remember Nick Clegg and the Lib Dems? A member of the public interviewed after the 2017 general election said that she never thought of Canterbury as a Conservative city and that her vote was vindicated, yet every other constituency in Kent has a Conservative MP and Canterbury is home to the Church of England.


It doesn’t have the feel of an especially devout place, either. There are probably more tourists on a pilgrimage to the shops, now that Sterling is so weak against the Euro, than there are who come to see the site of the murder of Archbishop Thomas Becket, though the 11th Century cathedral, the ruins of St Augustine’s Abbey and St Martin’s Church, all part of a UNESCO World Heritage site are destinations worth seeking out for history and atmosphere. It’s not just the trainloads of schoolchildren arriving from France with matching laminated lanyards, part of the attraction of Canterbury is that is has an outward-looking vibe, welcoming everyone. The student adoption of Corbyn ideals fits nicely with this openness and even outside of university terms, the city feels surprisingly young.


Canterbury is of course the city associated with a particular sub-genre of progressive rock though some of the participants deny that such a construct really existed. What can’t be denied is that Soft Machine and Caravan were formed there and that Gong also has its roots in Canterbury. Original Soft Machine drummer Robert Wyatt knew Mike Ratledge, Kevin Ayers and Brian and Hugh Hopper through the Simon Langton School; Dave Sinclair also attended the school; and Daevid Allen lodged at Wyatt’s parents’ house near Canterbury. The forerunner of Soft Machine and Caravan was The Wilde Flowers, where the collective of musicians included Pye Hastings (Ayers went out with Hastings’ sister Jane); Richard Sinclair (who became friends with the Hoppers when they went to see Sinclair Sr. play in his jazz band); and Richard Coughlan (who was introduced to Hugh Hopper via a mutual friend in the Sea Cadets.) Egg (Dave Stewart, Mont Campbell and Clive Brooks) are classed as a Canterbury band despite having formed as Uriel when at the City of London School, along with fellow pupil Steve Hillage. When Hillage left to go to the University of Kent (at Canterbury) Uriel continued as a trio, got a record deal and were encouraged to change their name. The organ-heavy material has little in common with Caravan, though the overdriven keyboards do at times come into Soft Machine territory, but that’s hardly surprising since Stewart has acknowledged Ratledge as an influence. The psychedelia, whimsy and humour seemingly shared by Egg with the other two groups, was more a product of the times though they did share an interest in odd time signatures. Hillage would later join Gong (1973-75) for some of their most coherent material, having disbanded his own group Khan and played with Kevin Ayers in Decadence, appearing on Gong’s classic Radio Gnome trilogy.



If there is a Canterbury scene, then Hatfield and the North surely fit in, the result of a number of intertwining band histories. Well away from that geographical area of Canterbury, Delivery was formed in 1967 featuring Phil Miller on guitar, his brother Steve Miller on piano, Pip Pyle on drums, Jack Monck on bass and Carol Grimes on vocals. Steve Miller would replace Dave Sinclair in Caravan for Waterloo Lily (1972) and Phil Miller, who was a guest musician on Waterloo Lily joined Robert Wyatt in his post-Soft Machine Matching Mole, a band that originally included Dave Sinclair on keyboards; Wyatt introduced Pyle to Daevid Allen and the drummer went off to live and gig with Gong from 1971 to 1972.

The Hatfields first convened in 1972 and comprised Phil Miller, Pip Pyle, Dave and Richard Sinclair but the band only played a couple of gigs before Dave Sinclair left, deciding that he wasn’t best suited to lack of structure. His replacement, Dave Stewart, fitted perfectly and their two albums, the self-titled debut (1973) and The Rotters’ Club (1974) are both excellent examples of progressive rock tinged with complexity and jazz sensibility, and presented with a madcap humour. Tricky time signatures and nice melodic moments are linked together by Sinclair’s ever-so-English vocals; a collective of incredible writing skills from all four members. The branches of this scene spread out to a remarkable array of other musicians and groups, including Bill Bruford, Camel, Henry Cow and Mike Oldfield, none of which should be classed as part of the Canterbury sub-genre but which display links back to a fertile source of inspiration and musicianship.


It’s been a couple of years since I was last in the city and there’s noticeable change. My first shopping visit in 2007 (I had been a few times before that for meetings at the hospital) included a stop at the Fopp record store where I picked up two Syd Barratt CDs, and a stall in the indoor market where the owner had connections with the original Canterbury bands and I bought Hugh Hopper’s Two Rainbows Daily (with Alan Gowen) and Numero d’Vol on CD; by the time of my next visit, Fopp had gone into liquidation and had been replaced by an HMV and the indoor market stall had closed down so subsequent trips tended to focus on non-musical shopping and the odd bit of tourist activity. The difference this time was that I’d checked for record stores and their opening hours and found three I’d not previously been aware of. First stop was Vinylstore Jr (http://www.vinylstorejr.co.uk/), a new vinyl-only shop in Castle Street (which is close to Canterbury East railway station) which concentrates on new issue LPs but does have a small second-hand section.


It’s run by a very pleasant, helpful and knowledgeable chap called Nick who recognised the difficulty of providing a dedicated ‘Canterbury’ section in a shop selling new vinyl; there appear to be only two Caravan albums which have been rereleased as an LP, In the Land of Grey and Pink (the 40th anniversary edition remastered by Steven Wilson from 2011 which is actually a double LP with bonus tracks), and If I Could do it Again, I’d do it All Over You. The former was a limited pressing and there can’t be many available now and the latter is on the 4 Men with Beards label in the US (catalogue no. 4M239). There are reissues of a few Soft Machine albums on vinyl commencing in 2010, including the self-titled first album, Second and Third. I indulged in the latest Roger Waters album Is this the Life we Really Want? plus a 2017 reissue of On An On by a much more recent Canterbury-based band, Syd Arthur; Sound Mirrors and Apricity were also available. This quartet, now comprised of three Magill brothers and Raven Bush play mostly short, always intelligent and intricate songs washed with a gentle psychedelia which at times do call to mind Canterbury bands of the late 60s and 70s. The closest On An On comes to progressive rock (the group won the Prog Breakthrough Act award in 2014) is the rather wonderful Paradise Lost. After explaining to him the sort of music I liked, Nick pointed out one album and suggested that I listen to Melbourne psyche band King Gizzard and the Lizard Wizard latest release, Murder of the Universe. He was right that it’s more proggy than their previous work but it’s still a little too straight psyche for my taste.


Second stop was the almost all second-hand Soundz ‘n’ Sitez in St Peter’s Street, the main thoroughfare through the city heading towards the Westgate. Run by Paul and Jayson, the shop is absolutely rammed with crates of albums and a small comic collection, retained from the store’s previous incarnation, but still no dedicated section for ‘Canterbury’. It turns out that they knew the former stall-holder from the indoor market, Dave Radford, and that Radford used to be in a Canterbury prog band called Gizmo... ...and Gizmo had released a couple of albums in the past five years, a self-titled effort in 2012 and Marlowe’s Children, part 1: The Innocence from 2015. The band had also covered Van der Graaf Generator's House with No Door for a Mellow Records compilation. Available on two formats in the shop, I chose the limited edition Gizmo on vinyl. The shop has attracted a few famous visitors including Rick Wakeman, in town for a gig, who ventured in and signed some records.




The third stop was a like walking into a slice of history. Canterbury Rock has been around since around 1979 and is run by Jim, a former council gardener and Fairport Convention fan, even though this was the first time I’d managed to find it, out beyond Canterbury West station. The shop has second-hand records, CDs, DVDs and audio equipment and has housed small musical events. If you were fussy you might think the place shabby, but its collection of posters and memorabilia from all genres, none of which is for sale, provides a unique documentary of popular music from the 60s onwards. There are some treasures which remain out-of-sight, but if you engage Jim in conversation he’ll tell you some brilliant stories. The Sinclairs lived around the corner, and when I’d handed over my money for a couple of LPs, he showed me a rather unusual, slightly battered copy of Soft Machine’s Third, hidden somewhere behind the counter. Pasted inside was a Simon Langton School photo, with an arrow linking the sleeve photo of Mike Ratledge to a young Mike Ratledge in the school photograph.

Jim, if you read this, your website link doesn’t work.




This means there’s now a different reason to make the pilgrimage to Canterbury; three excellent independent record stores which cover subtly different markets. Some of the other touristy bits aren’t too bad either.













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!







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