ProgBlog

Welcome to the ProgBlog

 

Following a short skiing trip ProgBlog reflects on music about winter and snow, and reconsider reggae...

By ProgBlog, Jan 8 2018 03:43PM

Not content with the excellent music I received at Christmas, Gentle Giant’s Three Piece Suite, David Gilmour Live at Pompeii and Änglagård’s Prog på Svenska - Live in Japan, I reviewed my wish list and found that Folklore by Big Big Train was unavailable on vinyl... I’ve come a bit late to the Big Big Train party, only possessing the material released on the cover mount CDs of Prog magazine and until recently, when my listening habits relaxed a little, not being sufficiently moved enough to buy any of their albums. The first track I heard was probably Winchester from St. Giles' Hill, a YouTube clip which one reviewer described as ‘the best song Peter Gabriel never sung.’ It’s a very pleasant piece of music but as it doesn’t pick up the pace until about 5 minutes in, I’m ashamed to say I didn’t pursue the output of the band until sorting out my music library last year and finding Last Train, Kingmaker and Judas Unrepentant, all of which I very much like, on Prognosis 5, Prognosis 18 and P5 Into the Lens respectively, prompting me to add Folklore to my wish list. With that album out of stock, I decided to order Grimspound (on vinyl) instead, even before Burning Shed had reopened after Christmas, just in case that too became unavailable as an LP. Depending on how much I like Grimspound, I might have to buy a download of Folklore until the vinyl edition gets re-released.


Christmas present - Three Piece Suite by Gentle Giant
Christmas present - Three Piece Suite by Gentle Giant

I’ve also visited the BTF website, after seeing the vinyl version of Dedicato a Frazz by Semiramis advertised in the sidebar of my weekly email from the Italian prog distributors and mail order firm. I’ve been after the LP since before seeing the band perform at last year’s Progressivamente festival in Rome because it’s a great piece of music, little known or appreciated outside of Italy until the renaissance of prog; the CD was one of my most expensive second-hand purchases on that particular format but I’ve always thought it was well worth it, like some obscure treasure.

It seemed pointless to splash out on postage for one album so I added DNA by Jumbo to my shopping cart. I currently own this as a download, having never seen the release in a physical format, despite always scouring the Js in the CD and record bins in every record shop I go to in Italy. The first of their two classic RPI albums, DNA represents fairly basic progressivo Italiano but it’s still quite enjoyable. There’s not a great deal of variation in the keyboard with only organ and piano but, in common with quite a lot of early Italian progressive rock, there’s a hefty dose of flute which sounds as though it’s been inspired by Ian Anderson and early King Crimson. DNA was Jumbo’s first foray into a progressive sound but there’s still a weighty reminder of their roots, including harmonica, a blues instrument which I don’t believe has any place in prog! However, the influence of early UK prog is evident throughout and Ed Ora Corri (And now you have to run), the second part of the 3-part composition that makes up side one of the original LP (Suite per il Sig K., a track that reflects a Kafka-like existence) is quite spacey and seems to have been at least partially inspired by Pink Floyd. I’ve owned their 1973 release Vietato al minora di 18 anni? (Prohibited to minors under 18?) for a year now, a limited edition from BTF on red vinyl and apart from seeing vocalist-guitarist-songwriter Alvaro Fella performing with Consorzio Acqua Potable (CAP) at the Riviera Prog festival in Genova in 2014, where at the time he was confined to a wheelchair, I have also seen Fella play with CAP, and Jumbo, at Progressivamente in Rome last September. On record, Fella’s vocals might seem something of an acquired taste – he has a distinctive theatrical style that has hints of Alex Harvey or Roger Chapman from Family, but his singing comes across as perfectly suited to the music when you witness him play live.


The first gig of the year was a fairly low-key affair at The Dublin Castle in Camden. I was accompanied by Jim Knipe who only got to see a fraction of the main attraction, Hats Off Gentlemen It’s Adequate, but had to sit through an excruciating performance by Unit 48 who were like Haircut 100 fronted by David Brent, one nondescript singer/guitarist, and a rather intriguing opening act False Plastic, a trio of bass, drums and guitar who played short, spiky numbers apart from their final song, where they let rip with some psychedelic punk.


The line-up at The Dublin Castle 4/1/18
The line-up at The Dublin Castle 4/1/18

I’d been invited to listen to the new release Broken but Still Standing by Hats Off Gentlemen It’s Adequate at the end of last year and found it a pretty good mixture of prog and post-rock. The soundscapes are quite Floydian (especially post-Waters Floyd) and the themes are pretty deep; if that isn’t enough to intrigue you, the flute is absolutely gorgeous and these passages are the most prog. Their album When the Kill Code Fails from 2016 comes with a recommendation from Steve Hackett.

I was included in a tweet sometime during the day of the gig that flautist Kathryn Thomas wouldn’t be appearing and that the band, which can involve as many as five people or as few as just one, would be appearing as a duo, Malcolm Galloway on guitar and vocals, and Mark Gatland on bass, keyboard and effects; I wasn’t put off by the pared-down outfit because I knew that some of the material could be recreated using patches and triggers and though we weren’t going to get the high quality prog of the first fifteen minutes of Broken but Still Standing, there were plenty of other parts of the latest album which were very enjoyable.


Broken but Still Standing by Hats Off Gentlemen It's Adequate
Broken but Still Standing by Hats Off Gentlemen It's Adequate

Indeed, the set was a mixture of the shorter material from Kill Code and Broken and it was thoroughly enjoyable. The programmed drumming, something I’m a bit wary of, sounded like an authentic kit and the washes and bits of electronica were quite like on the albums. There was one moment, possibly at the end of My Clockwork Heart where Galloway pressed the wrong foot pedal and guitar continued playing, even though it was the end of the song. Galloway’s vocal style is quite languid, a bit like Pete Shelley, but it does suit the music; this is in comparison to Gatland who was a ball of energy, leaping around the small stage sometimes two footed, bringing his knees up to his chest. It wasn’t only good to listen to, it was genuinely entertaining and when I spoke to them afterwards it was quite clear that they’re both really nice guys. I bought the two recent CDs and took advantage of the special merchandise stand offer – buy two get the third (Invisible) free. The duo made an appearance at HRH Prog last year as stand-ins for Touchstone and by all accounts, went down very well. It’s hardly surprising. Their originality, enthusiasm and great songs mark them out to be a group to watch. I can’t wait to see them as a five-piece.


Hats Off Gentlemen It's Adequate set list 4/1/18
Hats Off Gentlemen It's Adequate set list 4/1/18

Still driven to own more music, I visited Croydon’s 101 records for their half-price New Year sale, where the offers were only available to those who’ve signed up to Duncan Barnes’ email list. The condition of the album is rated as A (Very Good Condition) to C and though I’ve had numerous chances to pick up the original Journey to the Centre of the Earth for £1 from flea markets, I’ve always resisted because the sleeve and/or the LP has been badly marked. I’m please I waited. With a sale price of £2 and rated as in VGC, I bought Journey (a record I’ve never owned before) and a replacement The Myths and Legends of King Arthur and the Knights of the Round Table, something I bought in 1975 and sold in ’77 or ’78, also for £2. I then splashed out and added Ekseption's Greatest Hits for £3!


Sale bargains from Croydon's 101 Records
Sale bargains from Croydon's 101 Records

I’m not sure I’ll ever stop wanting more music...








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, Dec 20 2015 10:05PM

Shortly before I left South Newbarns junior school (former pupil: Liverpool FC and England legend Emlyn ‘Crazy Horse’ Hughes) I was called to see the Head Teacher and was told that I didn’t read enough; I ‘m not sure how he knew because I always did well in reading tests but I took his criticism on board and embarked upon a literary marathon. I think I’d previously been more interested in seeing how things worked, a practical or visual viewpoint backed up by technical descriptions rather than prose. Some of the first examples of children’s literature that I managed to get my hands on were the Narnia books by CS Lewis. This form of fantasy fired my imagination and, though I’m fully aware of the allegorical nature of the books which goes against my atheist principles, I still regard them highly. I was impressed that Steve Hackett should include the track Narnia on his second solo album Please Don’t Touch (1978) which, in keeping with the cover illustration by Kim Poor, lends a nostalgic air. From CS Lewis to JRR Tolkien isn’t too much of a leap, being friends and fellow Oxford dons and though The Hobbit wasn’t really challenging, the cartography and the runes interested me deeply. When I read The Lord of the Rings for the first time in the form of the three hardback books, borrowed from Barrow library, it rapidly became obvious that there was an incredible depth to the story telling, clues to which could be found in the appendices at the end of The Return of the King. I wasn’t ashamed to attempt to learn Elvish, written and spoken, along with some other school friends. Tolkien was widely read by the counterculture generation who saw the works as anti-war, anti-materialistic and in tune with nascent environmentalism, so it’s hardly surprising that prog bands should jump on the bandwagon: Camel with their pre-Snow Goose mini-epic Nimrodel/The Procession/The White Rider from Mirage (1974) and Barclay James Harvest with Galadriel from Once Again (1971). Critics of prog often dismiss it as fey music about dragons and elves and the two genres, fantasy writing and progressive rock are now very much seen as being synonymous by authors of popular culture. At the Time of Olias of Sunhillow (1976), Jon Anderson owned an Old English Sheepdog called Bilbo and in 1972 Bo Hansson released a complete album Music Inspired by The Lord of the Rings. Hansson’s subsequent work was inspired by other authors I was discovering: Alan Garner and Richard Adams. Following Watership Down (1972) and the rather less enjoyable Shardik (1974) Adams based his third novel, The Plague Dogs (1977), in the Lake District. Alf Wainwright contributed maps and the illustration for the cover but of equal interest was the site of an accident at the beginning of the book, a zebra crossing on Abbey Road, Barrow-in-Furness. Alan Garner is still one of my favourite authors and my adolescence coincided with one of his best known books, Red Shift (1973) where the modern day protagonist Tom listens to music through headphones:

“...When I get

Cross track,

I’ll be real soon.

Sweet is the morning, green is the rush

And all my loving is far away.

The stars are changed, and

When I get

Cross track, I’ll be

Real soon.”

Perhaps it’s because the book coincided with the golden age of progressive rock that I’ve always felt that this piece of imaginary song writing was inspired by prog rather than any other genre though I have absolutely no proof that this is the case. I think the words could be interpreted as ‘green language’ and associate them with the spectrum that incorporates Fragile (1971), Close to the Edge (1972) and Tales from Topographic Oceans (1973); Garner’s Cheshire has parallels with Hardy’s Wessex where customs, folklore and dialect are important to the plot. Is it too much to suggest that Lewis Carroll has influenced prog?


Refugee by Refugee - on the famous Charisma label
Refugee by Refugee - on the famous Charisma label

The Charisma Records label changed from a pink scroll to the John Tenniel depiction of the Mad Hatter from Alice’s Adventures in Wonderland (1865) and the Syd Barrett whimsy, psychedelia rather than prog per se, is indebted to Carroll alongside Edward Lear, Hilaire Belloc and Kenneth Grahame. Garner invokes Carroll’s word square to turn communication between Red Shift’s Tom and Jan into code and an example appears at the back of the book. When I was 13 or 14, my brother Tony and I cracked the code and sent our interpretation to Garner via his publisher, possibly the first people to do so. I still have a copy of Alan Garner’s reply, written on a postcard featuring a black and white photograph of the Horsehead Nebula taken at Jodrell Bank, close to Garner’s home, commending us on our efforts. I equate ciphers with prog, seeking to find meaning in words or symbols and can’t believe that there are too many 70s prog fans who weren’t intrigued by Kit Williams’ Masquerade (1979). I’m also informed by my friend and electronica aficionado Neil Jellis that the planetarium at Jodrell Bank used to be a venue for UK electronica gigs. How cosmic is that?


Postcard of the Horsehead nebula
Postcard of the Horsehead nebula

I now read more books relating to music than I do novels. I’m not a fan of lists but I own copies of Jerry Lucky’s The Progressive Rock Files (4th edition, 1998), his Progressive Rock Handbook (2008), bought as an updated version of Files, and his 20th Century Rock and Roll: Progressive Rock (2000) which is a book of the 50 most influential progressive rock albums of all time. Though largely an A - Z catalogue of bands, including brief descriptions and a strict discography, both Files and Handbook include an introductory discussion about prog but that’s not why I bought them. As early examples of books that promoted the genre, I used them to identify potential additions to my collection and they didn’t just sit on my bookshelves, their slightly dog-eared appearance is down to being carried around to record shops in the UK and elsewhere as reference manuals; the country of origin listing being particularly important.

The resurgence of, or detoxification of progressive rock in the mid 90s allowed authors to once more write about prog without being pilloried. Edward Macan’s Rocking the Classics: English Progressive Rock and the Counterculture (1997), Paul Stump’s The Music’s All That Matters (1997) and Bill Martin’s Music of Yes: Structure and Vision in Progressive Rock (1996) and Listening to the Future: The Time of Progressive Rock, 1968-78 (1997) were all attempts to address the shortage of critical material about the genre, not simple biographies that had been available before (Yes Perpetual Change by David Watkinson, 2001; Close to the Edge, the story of Yes by Chris Welch, 1999), looking at the genre from musicological, sociological and philosophical perspectives, putting it in context of how, when, where and why. A series of essays edited by Kevin Holm-Hudson published as Progressive Rock Reconsidered (2001) continued the academic approach and set a new standard of analytical writing. Though not a major fan of biography as a literary genre, I make an exception for some prog musicians such as Bill Bruford. His The Autobiography (2009) was a book that I could hardly put down, setting itself apart by avoiding a straightforward chronological narrative and using a series of ‘frequently asked questions’ to begin each chapter. I also like to read the stories behind my favourite bands. Paul Stump attempted a book on Gentle Giant, Acquiring the Taste (2005) that I enjoyed although three Amazon reviewers derided it for being too verbose, factually incorrect and over-reliant on pre-existing sources; Sid Smith did an incredible job with In the Court of King Crimson (2001) and Jim Christopulos and Phil Smart produced the excellent Van der Graaf Generator - The Book (2005).

I’m not jealous of Will Romano, loving his Mountains Come Out of the Sky (2010) because of the inclusion of a chapter of Italian prog, the first concise history of the sub-genre I’d seen, but his Prog Rock FAQ (2015) covers material that I thought I was the first person to commit to text in this blog! A series of interviews and an interesting theory about the origin of prog reveal his journalist credentials but I don’t always agree with his analysis or opinions. Finally, I need to learn Italian so I can fully appreciate a couple of Progressivo Italiano books...




Prog books
Prog books


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