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ProgBlog doesn't go to Milan for designer goods. Milan excursions are for progressivo Italiano with a bit of the spirit of Leonardo da Vinci thrown in...

By ProgBlog, Apr 10 2019 09:29PM

As the rest of the world watches, the UK plays out a real-time tragicomedy that the actors know is going to cause severe damage to services and the economy but, like the slow-mo approach to the cliff edge, seem incapable of taking appropriate action to avert the impending disaster. I flew to Bologna on the day of the UK’s scheduled departure from the EU (I had tickets to see Ian Anderson on the Jethro Tull 50th Anniversary tour) and fellow passengers laughed at our choice of dates and the confusion we’d have encountered if parliament had approved the Prime Minister’s deal. I was in Genoa the previous weekend where, over dinner with Italian friends, I was asked what on earth we, the UK, were doing. Brexit makes watching televised parliamentary business like watching an episode of The Office; excruciating but compulsive viewing.


Jethro Tull 50th Anniversary Tour, Bologna 30.03.19
Jethro Tull 50th Anniversary Tour, Bologna 30.03.19

Exiting the European Union is an act of wanton self-harm regardless of whatever anyone says about ‘respecting the will of the people’ or ‘give us what we voted for’ but unfortunately the genie has been released from the bottle and conflicting desires following the 52:48 split have used up our wishes to poison debate with hatred and accusations of treachery, fuelled by the personal ambitions of a few die-hards and financed by shadowy figures running insidious Facebook advertising campaigns. As it stands, Theresa May has at last extended an invitation to Jeremy Corbyn to work out some compromise on getting the European Union (Withdrawal) Act 2018 passed, having had her preferred deal, what she regards as the only deal, rejected by the House of Commons three times; we’ve also had a series of indicative votes, seeking out a consensus for a resolution, none of which has commanded any majority in the House. Judging from reports of the current state of affairs it seems that she’s asking Labour to compromise and not shifting her own red lines.


I voted to remain in the 2016 referendum but if we are forced out of the EU, any deal must protect workers’ rights; the environment; the Good Friday Agreement; the rights of UK citizens living within the EU and EU citizens in the UK; food and manufacturing standards; and businesses importing and exporting between the UK and the EU; in other words a soft-Brexit with some form of customs union. One potential model has been coined ‘Norway plus’. Norway, along with Liechtenstein and Iceland, are members of the European Free Trade Association (EFTA) and the European Economic Area (EEA). Norway plus, which was proposed towards the end of 2018, would consist of membership of EFTA and membership of the EEA, combined with a separate customs union with the EU to create a trade relationship similar to that between the EU and its member states today. The one potential drawback cited by critics is that the UK would have to abide by EU regulations without any political representation in the EU's bodies, though it encompasses an idealised wish list for a soft Brexit.


I’ve always been intrigued by Norway, from Scandinavian mythology to physical geography lessons during my schooldays in the early 70s. Unlike the UK, who did exactly the opposite with money from North Sea Oil extraction, the Norwegian government created two sovereign wealth funds. One of these was for reinvesting surplus revenue back into global stocks, shares and assets and the other, the smaller Government Pension Fund Norway, invested in Norwegian and some Scandinavian businesses, acting like a national insurance scheme. Norway featured heavily in the second of my Interrail travels, where 10 days were spent exploring the country from Oslo up to Narvik, well inside the Arctic Circle and the farthest north I’ve ever travelled, 68o28’ N.

This trip coincided with campaigning for the 1983 Norwegian local elections, so university friend and fellow traveller Nick Hodgetts and I hung around with the Norsk Arbeiderparti (who had a band on stage singing about social democracy) and the Greens on our first afternoon in Oslo. I really enjoyed Norway; the people, the landscape, the towns and cities, picking redcurrants for a free night and breakfast at Åndalsnes Youth Hostel, and though the trains were frequently crowded, the travel was enjoyable, too. The journey up to Narvik was by bus, having unsuccessfully attempted to hitch a ride from Fauske. The road trip was just over 5 hours long, hugging the coastline and crossing two fjords by ferry. I described it as ‘cosmic’ in my diary, driving along quiet, unlit roads, climbing out of valleys and descending towards the head of a fjord with the mountains darker than the night sky. Just after midnight on the walk from Narvik bus station to the railway station, a casual glance towards the firmament revealed a constantly changing green shadow, fading, growing, shifting and finally dissipating; the aurora borealis clearly visible above the glow of the city lights.


Early morning mist over Bergen, August 1983
Early morning mist over Bergen, August 1983

We managed to see a number of free live music performances and though one of the last concerts I attended in the UK before setting off on my northern Europe trip was Pendragon, Solstice and The Enid at the Ace, Brixton on May 11th, an indication that neo-prog had truly arrived (partially thanks to being embraced by Kerrang!) it was striking that throughout the country the predominant musical style and associated fashion was heavy metal, though it was almost impossible not to hear Mike Oldfield’s Moonlit Shadow or Irene Cara’s Flashdance being played on the radio (or some cassette player.)

Whereas I’d started listening to Sweden’s Bo Hansson in the mid 70s and began buying Finnish prog in the mid 00s, I hadn’t actually paid any attention to music from Norway. A couple of years after my Norwegian trip, a-ha became the country’s top musical export with uplifting pop, though the trio themselves were irked that music critics couldn’t see beneath the shiny surface of their songs where the application of classical theory and a rich harmonic language made them mini-symphonic masterpieces straight out of the book of prog. Also around that time, the Norwegian love-affair with heavy metal evolved into Norwegian black metal, a sub-genre that peaked in popularity in the early 90s and was considered to rival Swedish death metal. I remain unconvinced that Sweden’s Opeth should fall under the prog banner despite prog flourishes amongst what I still hear as death metal and I that have been and am equally dismissive of black metal groups from Norway that have adopted prog stylistic leanings. However, when the third wave of progressive rock surfaced in Sweden and the USA in the early 90s, if it wasn’t quite metal with prog sensibilities it could certainly be classed as material close to the sound of Red-era Crimson; heavy prog but not prog metal.


My first taste of Norwegian prog was a set from Arabs in Aspic at the 2017 Porto Antico Prog Fest in Genoa. Not knowing what to expect, I was nevertheless impressed with their brand of prog which though biased towards the heavy end of the spectrum, contained sufficient melody, variation and surprises to suit someone more accustomed to symphonic prog. They sang and communicated to the almost exclusively Italian crowd in excellent English, reminding us that we were united by progressive rock. They also formed the backing band for the Saturday headliner, space-rock legend Nik Turner.


Arabs in Aspic, Porto Antico Prog Fest, Genoa, July 2017
Arabs in Aspic, Porto Antico Prog Fest, Genoa, July 2017

When I first bought Jerry Lucky’s The Progressive Rock Files I used to take it around Europe as a reference when I went into record stores until it became worn and fragile. This was also the source of my first interest in Anekdoten and Änglagård, expanding my knowledge of Swedish prog. The book was eventually replaced with Lucky’s The Progressive Rock Handbook, a more complete and up-to-date volume with a set of different album sleeves presented in full colour. One of those depicted was Wobbler’s debut Hinterland (2005) which, I’m ashamed to say, I paid absolutely no attention to.


Jerry Lucky - The Progressive Rock Handbook
Jerry Lucky - The Progressive Rock Handbook

I’m pretty sure I saw adverts for Rites at Dawn around the time of its release in 2011 but it was From Silence to Somewhere (2017) that finally hooked me. One of the people I follow on Twitter had raved about it when she got her copy but at the time I didn’t follow up the recommendation. Some time early in 2018 I’d been browsing on Bandcamp and somehow ended up on the Karisma Records page which linked to the band, where I ended up listening to it, was blown away by it and bought a copy on vinyl. Hinterland (on vinyl) and Rites at Dawn (CD) followed and since then I’ve bought Hinterland and From Silence to Somewhere as presents for my brothers. I’ve also just ordered a remastered CD of Afterglow (2009) as a present to myself. The music sounds like early 70s symphonic prog, largely thanks to a keyboard set-up that would not have been unfamiliar to Rick Wakeman while recording Fragile, and trebly Rickenbacker bass. It’s a full sound, well structured, expertly played and nicely produced. Wobbler certainly aren’t afraid to stretch themselves with lengthy compositions, all of which could attract the criticism that they’re merely regurgitating music from 45 years ago rather than progressing, but the band started out playing music that they liked without worrying about where they would be pigeonholed. I like it, too. I like it very much.


The Wobbler collection (as of April 2019)
The Wobbler collection (as of April 2019)

It was while I was selecting a CD of Hinterland for my brother that I came across Jordsjø, another band allied to Karisma Records and after checking the reviews, bought Jord. There are some similarities with Wobbler but in the main they play prog with a large dose of Scandinavian folk. It reminds of the An Invitation EP by Amber Foil, not only in the palette, but the feel of the music which evokes unidentifiable forces dwelling in some dark forest. I’m a big fan of the flute on the album which adds to the folk feeling but the last track is something very different, though equally good – an electronica outing that could easily have been composed by Tangerine Dream in the mid 70s.


Jord by Jordsjø
Jord by Jordsjø

So if the UK is to leave the EU, and the leaders of EU countries are discussing this as I type, I’m going with Norway...




By ProgBlog, Feb 4 2019 10:27PM

Whether by conscious choice or directed drift, the latter part of 2018 saw me adopt what the media are calling ‘flexitarianism’. My son had started out on this road towards the end of last year but quickly shifted to a full vegan diet and when he’s invited to dinner, I prepare vegan food for the whole family.


Not yet prepared to give up meat entirely, this casual vegetarianism is an attempt to reduce my carbon footprint by taking a more environmentally sustainable approach to what I eat by consuming less meat. For someone who shuns almost all fast food (I eat supermarket pizza, occasionally go to pizza restaurants, I might have takeaway fish and chips once every couple of months or buy-in an Indian takeaway perhaps twice a year) and is entirely happy in the kitchen, it’s not as onerous as many might imagine. If statistics are to be believed, 26% of Millennials are either vegan or vegetarian and supermarkets, eager to maintain market share, have been quick to produce suitable ranges of ready-to-cook vegan dishes; the fad has also been matched by the availability of varied recipes. I mostly cook from scratch which means it’s fortunate that the Co-op, our nearest supermarket, is one of the better outlets for identifying vegan produce but it’s equally handy that Coughlans, our local bakery chain, has an extensive range of vegan cakes. My first visit to Coughlans with the specific aim of buying an appropriate treat for my son involved an almost conspiratorial approach from another customer, a young woman who asked me if I was vegan like her and her young son; I fear she was a little disappointed with my truthful response that I hadn’t increased the number of vegans in Addiscombe. Rather than go the full extreme, I attempt to eat a balanced diet and if my comparative zoology lectures taught me anything when I was a student, we have the ideal dentition for an omnivorous diet, although I admire anyone who chooses to go vegan for ethical reasons. The recent family skiing holiday to Bardonecchia showed how well veganism has spread; I needn’t have feared that we weren’t going to find suitable foodstuffs to cook on the two hotplates and small oven that served as our apartment kitchenette – Carrefour (which has a supermarket near-monopoly in the resort) carried a wide range of alternatives, including one awarded a ‘product of the year’, for our vegan skier.




The best known examples of prog vegetarians are Yes. It’s well documented that in the early 70s all the members of the band bar Rick Wakeman, along with many of their road crew, stopped eating meat, initially influenced by producer Eddie Offord who was already into health foods. This chimes with the cosmic image of Jon Anderson, the man primarily responsible for the band’s mystically-themed lyrics and concepts which include recurring motifs of environmentalism, pacifism and pantheism. Anderson let his vegetarianism slip, though in a 2006 interview with Howard Stern he spoke of maintaining a healthy diet. In fact it was Steve Howe who was the first of the band to stop eating meat and continues to maintain this stance; In the January 1992 edition of Vegetarian Times he related that the group was in New York during the 1972 Fragile tour when he ordered his last chicken dinner but was unable to eat it.



I’m not sure what the musical equivalent of flexitarianism is, but over the last couple of weeks I’ve allowed myself to be exposed to genres other than symphonic prog and progressivo Italiano, from a Philip Glass CD received as a Christmas present to the protest folk-psyche of Twilight Fields who invited me to listen to their forthcoming release Songs from the Age of Ruin which featured in a recent ProgBlog DISCovery post (their track Prologue: The Ruined City is included on the covermount CD of Prog 95). The lesson is clear, although it’s unlikely to have any environmental impact: it’s good to listen to a wide spectrum of musical genres.




Compared to last year, live prog has not yet featured heavily in my schedule for 2019 but the two events I have attended were not run-of-the-mill gigs. A last-minute decision to see London-based electronica musician Amané Suganami (who performs under the stage name Amane) at Camden Assembly for an event tagged as ‘the spirit of Brian Eno’ was my first ever prog date and the first time I’d gone to a gig with my wife since Chris Rea at Wembley Arena in December 1988! Strictly sticking to Eno’s ambient music with interpretations of Ambient 1: Music for Airports, Ambient 2: The Plateaux of Mirror (with Harold Budd); Ambient 3: Day of Radiance (Laraaji, produced by Eno) and Apollo: Atmospheres & Soundtracks, of which I only recognised An Ending (Ascent) from the latter, this was an enjoyable, well-attended event with a distinctly un-prog demographic, spoiled only by the suggested start time of 7pm – doors were at 7.30 and the performance began at 8pm.



The second event wasn’t really a gig and it wasn’t strictly live; it was Steve Hackett’s At the Edge of Light album preview held at the Everyman cinema in Crystal Palace, a run-through of the record in 5.1 surround sound four days before the official release, organised by Prog Magazine and Inside Out records. I ‘won’ tickets by sending Prog a selfie, holding a copy of Prog 94 with Steve Hackett on the cover, taken in my dining room (photos of the magazine taken in newsagents were disallowed!) I’d been to two King Crimson playbacks in the mid-late 90s for the releases of the Epitaph box set and The Night Watch CDs, both unmissable because they were relatively small gatherings of like-minded fans and featured the assembly of the musicians responsible for the performances but which also included fascinating side events: the offering of home-made cakes (I baked a date and walnut loaf); a Mellotron display; and John Wetton performing a solo acoustic version of Book of Saturday. An even more exclusive gathering, the At the Edge of Light playback was a chance to hear the latest Steve Hackett release before the general public and had the distinct advantage of being held on my doorstep, a short 410 bus journey from home.



When I lived in Crystal Palace/Upper Norwood the former Rialto Cinema, opened in 1928, was being used as a bingo hall. The cinema had shown its last film in 1968 and Gala Bingo, in a restructuring exercise following diminishing profits and questionable financial viability partly blamed on the 2007 ban on smoking in enclosed public spaces, closed the premises sometime around 2009. It was bought by Kingsway International Christian Centre but they failed to gain planning permission for change of use to an evangelical church partly because the development would result in the loss of an important leisure venue, deemed to be "harmful to the social, cultural and economic characteristics of the area." Repurposing as a church also incurred opposition from an active local group, founded in 2010, who campaigned to return the prominent Art Deco building to its original function and so, with the building listed as an asset of social value (ASV) ensuring KICC had no prospect of planning approval, they decided to sell up in 2017.

The building has been lovingly restored and given a new lease of life by Everyman, with the original main auditorium divided up to form four screens. Screen 4, the venue for the playback, seats 75 on plush two-seater sofas and provided a warm, intimate setting for the event. I had wondered why Hackett and the record label had chosen Everyman Crystal Palace but Steve Hackett’s live film Wuthering Nights: Live in Birmingham was given a screening at Everyman King’s Cross on 15th Jan 2018, prior to its official release eleven days later; Marillion’s 2017 Royal Albert Hall concert film was screened at Everyman cinemas around the country in March 2018 prior to the release of the DVD/Blu-ray for home consumption; and Steven Wilson held a pre-release screening of Home Invasion at Everyman King’s Cross last October. There’s a rumour that someone high up in the Everyman organisation is partial to prog...


It’s unclear how many ordinary punters were present, not industry insiders from Inside Out music or Prog magazine or members of the Hackett family (Steve’s wife, Jo; brother and collaborator John; their mother; aunt Betty) but regardless of status we were all treated to a signed card from Steve and some Green & Black’s chocolate. Prog magazine editor Jerry Ewing commenced proceedings with a short introduction, declaring At the Edge of Light the best offering from Hackett for 20 years; he handed over the mic to Hackett who thanked quite a few people present and said a little bit about the music and the guest musicians, and then we settled down to listen.


Having already watched three available YouTube videos and being fully aware of Hackett’s diverse styles through building up a comprehensive library of his recorded output, I wasn’t surprised by any of the material. It’s a natural successor to Night Siren though with a more cohesive sound despite the eclectic mix and, as Ewing suggested, probably his best album for many years. The fact that it’s not all-out prog is one of the album’s strengths, the eclecticism providing an almost commercial level of accessibility but without being ‘commercial’. My least favourite track was Underground Railroad although I do love the story of the inspiration behind the song. It was written following a visit to Wilmington, Delaware, where he found out about the network that helped slaves escape in pre-Civil War America, spearheaded by people like Harriet Tubman; it’s just that I’m not a great fan of the Blues or, however well it’s played, harmonica.

I thought that there were a number of highlights; from the brief opening tune Fallen Walls and Pedestals with its archetypal guitar sound to the prog mini-epic Those Golden Wings to the three numbers forming a kind of suite closing the album, Descent which channels Holst or King Crimson, Conflict, and Peace but the overall quality of song writing on the album is really high, including the infectious prog-pop of The Hungry Years! At times I was reminded of Cured-era Hackett which I think has a distinct overall sound. On completion of the album presentation he remained in the auditorium and chatted to the attendees, graciously posing for selfies with fans.



More than just the music, I admire Hackett’s viewpoint, expressed in both Prog 94 and in his explanation for the album’s title. He described the thread linking the songs as different interpretations of the contrast between light and dark, expressed at its most basic on Beasts in Our Time as good versus evil, but also the more mystical interplay of dark and light magically combining in cultures such as that which provides the heartbeat of India (Shadow and Flame). In summary, Hackett takes a hopeful stance: “In these dangerous times, deep shadows feel even sharper than usual and we find ourselves standing at the edge of light. Ultimately, this album embraces the need for all musical forms and cultures to connect and celebrate the wonder of unity in this divided world."


I think it’s time for us all to go culturally flexitarian.









By ProgBlog, Mar 12 2018 10:28PM

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

These are their 9 albums:



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

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Days of Future Passed

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

Argus

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

Music Inspired by The Snow Goose

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

Tubular Bells

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

Nursery Cryme

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

Tales from Topographic Oceans

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

Brain Salad Surgery

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

Meddle

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

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

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

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

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Pink Floyd – The Dark Side of the Moon

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

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

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

Martin Stephenson & The Daintees – Gladsome Humour & Blue

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

Johnny Cash – American III Solitary Man

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

Various Artists – The Best of Blue Note Vol.1

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

Genesis – Live

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

Gil Scott-Heron – The Revolution Will Not Be Televised

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

Various Artists – First Time I Met The Blues

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

Various Artists – Blue Brazil

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

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

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A Nice Pair – Pink Floyd.

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

Evening Star – Fripp & Eno.

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

Tubular Bells – Mike Oldfield.

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

Journey to the Centre of the Earth – Rick Wakeman

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

Close to the Edge – Yes

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

The Dark Side of the Moon – Pink Floyd

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

Phaedra – Tangerine Dream

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

Oxygene – Jean Michel Jarre

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

Deadwing – Porcupine Tree

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

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Yes - Close to the Edge

Yes - Relayer

King Crimson - Larks' Tongues in Aspic

King Crimson - Starless and Bible Black

ELP - Trilogy

Miles Davis - Kind of Blue

Miles Davis - Star People

Camel - Music Inspired by The Snow Goose

Focus - Best of Focus

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

1) Close to the Edge

2) Larks' Tongues in Aspic

3) Fragile

4) Tales from Topographic Oceans

5) Starless and Bible Black

6) Nice

7) The Dark Side of the Moon

8) Pictures at an Exhibition

9) The Lamb Lies Down on Broadway

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


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

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


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










By ProgBlog, Feb 6 2018 03:45PM

BBC Four has just shown a new, three-part series Hits, Hype & Hustle: An Insider’s Guide to the Music Business where the timing of the last episode, Revivals and Reunions, coincided with the announcement that the Spice Girls, who appeared in the programme, are reuniting for the second time for a reputed £50 million.



I found the whole series enlightening and enjoyable, despite the cherry-picking of featured artists who were represented in some capacity by the three different presenters, Emma Banks (episode 1, Making a Star), John Giddings (episode 2, On the Road) and Alan Edwards in the last episode. Banks deals with the publicity side of the music business and her film revealed the mechanics of record deals, what I consider to be a rather unsavoury world where the artist is simply a medium for the record company to make money. She’s an award-winning music agent and head of the London office for Creative Artists Agency and clearly exceptionally good at her job, exposing a diverse roster of musicians to the right audience using every conceivable lever at her disposal. Having recently been asked to listen to, review or otherwise publicise new music from upcoming and unsigned bands like Process of Illumination, Gaillion, Groundburst, Amber Foil, Servants of Science, Hats Off Gentlemen It’s Adequate, Dam Kat and Zombie Picnic who all have to resort to self-promotion, I now have a clearer idea of the difficulties faced by new acts, getting heard amidst the sea of noise, despite being responsible for some incredible music.


ProgBlog's reviews and to be reviewed
ProgBlog's reviews and to be reviewed

The Banks piece didn’t touch on prog but the second episode with John Giddings, a music agent and tour promoter covered a couple of progressive rock stories. There was film footage of Peter Gabriel-era Genesis, including some of The Lamb Lies Down on Broadway tour, an interview with Phil Collins, and Ian Anderson relating tales of Jethro Tull tours, from being one of the headline acts at the 1970 Isle of Wight Festival where they didn’t get paid, a gig where someone poured a glass of urine over him from above as the band was waiting to go on stage and another where a blood-soaked Tampon hit him in the chest. These last recollections were accompanied by a clip from the Stormwatch tour which began in the US in April 1979, and shows the returning John Glascock on bass. Glascock had been too ill to complete the previous tour so ex-Stealers Wheel and Blackpool contemporary Tony Williams was drafted in to deputise. Williams appears on Tull’s Live at Madison Square Garden 1978 DVD, a concert aired on TV at the time and widely regarded as a great performance.


Peter Gabriel
Peter Gabriel

Ian Anderson
Ian Anderson

Concentrating on his own artists, Giddings neglected to discuss any Pink Floyd tours which seems to me to be a rather glaring oversight. Alan Edward’s guidance through the third episode Revivals and Reunions also concentrated on the groups he’d represented so although there was overlap with the two preceding documentaries, there was no mention of anything prog and the chance to discuss the Floyd reunion at 2005’s Live8 was missed. What it did cover, sometimes during candid interviews with the protagonists, was the reunion tour money generated for the artists which they didn’t always benefit from when they were first active. During On the Road Ian Anderson revealed that in the early years when Tull toured with Led Zeppelin, four road crew between the two bands meant overheads were kept to a minimum and playing 15000-seater venues was very lucrative. Led Zeppelin may have gone on to great acclaim, but increasing the size of the entourage and running your own aeroplane can’t have helped the accounts. Singer Clare Grogan from 80s pop group Altered Images and the two remaining members of Musical Youth, Michael Grant and Dennis Seaton all remarked upon the absence of money in their heyday, despite their chart successes, compared to their satisfaction with remuneration from touring in the present.


The programme highlighted the success of ‘heritage’ acts, opening with a piece about the UK’s first revival concert, The London Rock and Roll Show at Wembley Stadium in August 1972, where a number of performers from the beginning of rock ‘n’ roll revealed the potential of musical legacy to make a great deal of cash. According to trade magazine Pollstar, classic rock dominated lists of revenue-generating tours during 2017, topped by the reformed Guns N’ Roses playing a ‘best of’ set; Forbes suggests Roger Waters’ The Wall is the fourth highest grossing tour of all time and tops the list for a solo artist. This then poses the question: Is there anything wrong with so-called ‘heritage’ acts who play a ‘greatest hits’ set? I’d also like to ask another related question: How many original band members do there need to be to continue or reform under the original moniker?


Having missed out on seeing almost all bands during the golden age of prog because I was both too young and geographically isolated (it took an hour to get to Lancaster, the nearest University City by train and then another trek by public transport to get to the campus), I’d only ticked off Fruupp, Barclay James Harvest, a Jan Akkerman-less Focus, Rick Wakeman, post-Gabriel Genesis, Peter Gabriel and Gordon Giltrap before moving to London as a student. My arrival in the capital coincided with the demise of prog when punk and new wave were riding high. My first London gig was the classic line-up of Yes performing on the Tormato tour and, as the band contained two original members and had continued to release roughly one new studio album per year (apart from the hiatus between 1975 and 1976), it would be difficult to argue that incarnation, subtly different to that at the start of the band’s creative peak, should not be called ‘Yes’. What about Focus? The group had already demonstrated a degree of fluidity between debut recording In and Out of Focus (1970) and Hamburger Concerto (1974) utilising four drummers (including Akkerman’s younger brother) and three bass players. Their fifth drummer was recruited halfway through recording Mother Focus (1975) and in February 1976, a couple of days before I went to see them at Lancaster promoting the album, Thijs van Leer asked Akkerman to leave the band.

The distinctive sound of Yes is the product of a group effort, most recognisable in a highly developed form from Fragile onwards though present from the self-titled first album in 1969. The music of Focus was reliant on roughly equal contributions from van Leer and Akkerman and it was obvious when I first heard portions of Mother Focus on the radio that all was not well in the Focus camp; going to see the band without Akkerman made the experience bitterly disappointing. I’ve now seen Focus a number of times but on the next occasion after Lancaster, in October 2009 and subsequently, I’ve really enjoyed their set despite the lack of the original guitarist, with first Niels van der Steenhoven and then Menno Gootjes providing some very sympathetic lines. I think there’s an increased sense of legitimacy to the group with Pierre van der Linden on drums alongside van Leer but it’s also the fact that the newest members seem to have an appreciation of the original Focus legacy.


Over the last three or four years I’ve now managed to see most of the classic progressivo Italiano acts and many of them split up because of insufficient support from their record labels, rather than the trappings of fame and success tearing them apart. PFM are one band who are committed to making new music where there’s only one original member remaining, though Franz di Cioccio is joined by long-term amico Patrick Djivas plus 1980s recruit Lucio Fabbri; Banco del Mutuo Soccorso also have only one original band member in Vittorio Nocenzi, but the addition of technically gifted and musically sympathetic associates makes both PFM and BMS well worth seeking out for live versions of some of the best compositions ever committed to vinyl. It seems that the resurgence of an interest in prog in Italy, aided by traditional publishing, the rather adventurous reissue of Italian prog classics on 180g vinyl and a well-organised network of gigs and festivals has allowed some of the more esoteric single-album bands like Semiramis and Alphataurus to reform with the participation of many of their original members. I consider the reformation of any of the 70s Italian bands a good thing because it means I have a good excuse to take a trip to Italy!



Alphataurus, Genoa May 2014
Alphataurus, Genoa May 2014

The issue of who has the right to the band name was raised in the Hits, Hype & Hustle series using Orchestral Manoeuvres in the Dark as an example. In their case, the record label held the rights to releasing music under the OMD banner and said they’d decide which of the two camps, Andy McCluskey or Paul Humphreys, to give the name to depending on how much they liked any forthcoming songs but, as Andy McCluskey was the face of the band, it seemed more sensible to allow him to use the name. Both Yes and Pink Floyd have found themselves in legal battles over ownership of the name of the group and in the 1989 case of Yes vs Anderson Bruford Wakeman and Howe, I think the music suffered as a result of not just compromise, but because the musical ‘spirit’ of the band was fractured, exacerbated by the unwarranted sacking of various members. ABWH played modern Yes music which in my opinion is an updated continuation of some of the better material on Tormato (1978) and I don’t think any of the new material written since then, maybe with the exception of some of Magnification, lives up to the standards of their 70s output. Even the excellent Fly from Here suite (on Fly from Here, 2011) was a product of the 1980 line-up.


The death of Chris Squire in 2015 left Yes without an original member but even before that they’d taken up the role of a heritage act, certainly in the UK where they performed The Yes Album, Close to the Edge and Going for the One in their entirety in 2014, and Fragile and Drama in 2016, omitting anything from 2014’s Heaven & Earth. I was happy to see the band on both of these tours and really enjoyed the performances; I like that music more than anything which came afterwards, even though I went to see them on the 90125, Union, Open Your Eyes, Magnification and Fly from Here tours. The inclusion of Billy Sherwood as a replacement for Squire fitted in with the idea of a Yes family and I think it’s the association of long-standing and former members coming together again with the occasional new face that means it’s perfectly valid for the band to retain its name, even without an original member. The appearance of Anderson Rabin Wakeman, now calling themselves Yes featuring Jon Anderson, Trevor Rabin, Rick Wakeman might have alerted the lawyers but so far, two bands each with a good claim on the name are providing fans with renditions of some of the best recorded music, ever.












By ProgBlog, Jan 16 2018 08:52PM

I’m just back from a couple of days skiing in Chamonix, what I hope will turn out to be a warm-up event to a full week somewhere else later in the year. The town itself is very pleasant and though I’ve skied in the area three times before, we’ve always been based a little higher up the valley in Argentière and whereas we’d previously driven down to the resort, this time we flew to Geneva and took a transfer from there. We’d drive through Chamonix at the beginning and end of holidays and to get to some of the ski areas, scattered from just south of the town up to Balme at the head of the valley; we’ve even stopped there to see a screening of the second of the Lord of the Rings films, The Two Towers in English. So for the first time since our inaugural trip in March 2000, I managed to get a feel for the place, somewhere I’d read about in climbing accounts by Don Whillans, Joe Brown and Dougal Haston when I was a youth and somewhere I felt I knew well enough to base one of my O Level English Language exam essays.


Chamonix
Chamonix

I’m pretty sure there has been a lot of change since I read mountaineering books in the mid-70s, a time when young rock climbers used to name routes after prog tracks: The Gates of Delirium grade E4 (6a), described by UK Climbing as ‘magnificent’, Relayer (another E4) and Close to the Edge E3 (5c) are all climbs on Raven Crag, Thirlmere, in the Lake District and there’s also a Gates of Delirium in Yosemite; Genesis are represented by Hairless Heart, a grade E5 (5c) slab climb on Froggatt Edge in Derbyshire first ascended, solo, by John Allen in 1975 but there are others. There’s a thread from 2012, now closed down, on the UK Climbing site which asked why “an unnaturally high proportion of route names reference Pink Floyd, other dubious prog rock, or Tolkien.” The one sensible answer suggested that prog coincided with an explosion of new routes, though I did like the response “What's wrong with Prog rock? Or J.R.R. Tolkien? Many people have been inspired by the writings of Tolkien and the music of Pink Floyd, Genesis, Rush, Led Zeppelin, Yes etc. The fact is that both tend to ramble on a bit, but are ultimately rewarding in the end.” The erection of a new sports hall at my school included a short, under-used climbing wall and along with a couple of others I was allowed to climb during PE lessons. Access to Lake District routes in Coniston and Langdale was facilitated by Honda 550, with me sitting pillion and carrying the gear but I wasn’t nearly as good at climbing as I’d hoped. However, progressive rock and rock climbing seemed intrinsically linked as I flicked through Crags and High magazines listening to Alan Freeman’s Saturday Show on the radio, ticking off another prog-inspired route name.



I imagine there has also been some considerable change since I was last in Chamonix in 2005, even though the journey through Argentière up to La Tour was punctuated with familiar buildings. As someone who fully subscribes to the Italian version of coffee culture and will quite willingly frequent the sort of independent coffee shop that plagues hip areas of London and London commuter towns, I’ve found it difficult but not impossible to locate a decent espresso on my last couple of skiing trips to France. Last year, Val d’Isère had the Arctic Cafe and this year we found La Jonction Coffee, set up by two people who couldn’t find a decent coffee... The name of the cafe refers to the confluence of the Glacier des Bossons and Glacier de Taconnaz above the town at 2589m.
I imagine there has also been some considerable change since I was last in Chamonix in 2005, even though the journey through Argentière up to La Tour was punctuated with familiar buildings. As someone who fully subscribes to the Italian version of coffee culture and will quite willingly frequent the sort of independent coffee shop that plagues hip areas of London and London commuter towns, I’ve found it difficult but not impossible to locate a decent espresso on my last couple of skiing trips to France. Last year, Val d’Isère had the Arctic Cafe and this year we found La Jonction Coffee, set up by two people who couldn’t find a decent coffee... The name of the cafe refers to the confluence of the Glacier des Bossons and Glacier de Taconnaz above the town at 2589m.

I didn’t expect to see any record shops in Val d’Isère but I did think there might have been one in Chamonix, with its population of around 9000, a little less than that of Auray where I bought my first Ange CD Le Cimetière des Arlequins (from 1973.) Unfortunately there weren’t any so apart from listening to Semiramis’ Frazz Live (2017) on my mp3 player, the only music I got to hear was piped from restaurants and on one occasion, a truly awful singer-guitarist at the Irish Coffee bar across the road from our hotel. I don’t have much winter- or snow related music in my collection; I own a copy of Rick Wakeman’s White Rock (1977), the soundtrack to the official film of the 1976 Innsbruck winter Olympics and regard it as a return to form after Journey to the Centre of the Earth and The Myths and Legends of King Arthur and the Knights of the Round Table. My favourite track is Lax’x and my next favourite is the definitive prog track on the album, Ice Run but there are a number of snippets of music used in the film that form a sonic link between the different Olympic disciplines that don’t appear on album tracks, some of which are very Yes-sounding. The album’s instrumentation of keyboards, percussion and choral backing provides an effective, coherent narrative that works well for both audio and cinematic formats, linked by the melodic ‘searching for gold’ keyboard motif. I really like Wakeman’s full use of a range of keyboards and think it’s that which makes the album stand out from its immediate predecessors; there’s a much broader range of tonality, even though there’s no guitar or bass guitar.


Wakeman was an integral part of the band for Fragile (1971), as Yes came close to perfection. Roundabout, with its imagery of mountains that ‘come out of the sky’ from ‘in and around the lake’ could represent somewhere like the Lake District or the Swiss Alps but this doesn’t necessarily suggest winter, unlike the lyrics to the angular, driving and somewhat overlooked South Side of the Sky with its message that natural forces can be brutal. It’s ironic that White Rock was recorded in Wembley but when Wakeman rejoined Yes in late 1976, the band had decamped to Mountain Studios in Montreux, Switzerland to record Going for the One (1977), where Wakeman subsequently recorded 1977’s Criminal Record.

ELP were another band who combined a tax-break with recording in Montreux for parts of Works Volume 1 (1977) and though Fanfare for the Common Man wouldn’t normally fit into a ‘winter’ category, the video for the truncated version released as a single which reached no.2 in the UK charts was filmed in the futuristic Montreal Olympic Stadium (where they were rehearsing for the Works tour in a basement car park) after Greg Lake emerged from rehearsals for a breath of fresh air and was immediately struck by the vision of the snow-covered arena.


Another apt piece of music that I own is Winterthrough (2005) by Höstsonaten, part of a season-themed set of luscious melodic symphonic Italian prog albums. The standout track is Rainsuite which also featured in Fabio Zuffanti’s Z Band set list; it’s made up of a number of linked melodies which I think puts it in the Focus or Camel bracket. Camel had their own winter-related mini-epic Ice from I Can See Your House from Here (1979) which I hummed to myself on the skiing trip as we visited an ice cave carved into the Mer de Glace. Both the ice cave and the track have a stately beauty; witnessing Camel play the track live when they were promoting the album and the experience of being inside a glacier had a similar awe-inspiring effect on me.



The story of Fang in White Mountain, my second favourite Trespass (1970) track after The Knife, is an obvious snow-related story but is One for the Vine from Wind and Wuthering (1976), enough of a winter- or snow and ice themed song to count in my list? One of the songs being played at a restaurant where we stopped for a late morning chocolat chaud certainly doesn’t fit into the list but it did force me to reconsider my opinion of reggae. I’m obviously aware of the significance of Bob Marley who, after the demise of The Wailers in 1974 relocated to England and, with music infused with spirituality, became not only a multi-million selling artist and also came to symbolise Jamaican culture and identity, letting a ray of Caribbean sunshine into the world, but I don’t go out of my way to listen to reggae. What I heard that morning at Les Houches, played at decent volume through Bose speakers seemed like a long single track, divided into subsections rather like prog. A quick Shazam app search revealed that part of the song was Rastafari Leads the Way by Lutan Fyah and I suspect that the music was a Warrior Musick production Think Twice Riddim, featuring a host of different artists with an amazing, positive vibe; a rejection of violence and a call to rethink a way of life which chimed with the ethos of progressive rock. The sun was shining, the snow conditions were perfect and I was skiing some long and some challenging runs with my family, and a little bit of reggae made it even better.



Perfect skiing conditions at Les Houches
Perfect skiing conditions at Les Houches






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