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At the start of a four-day immersion in gigs and record buying, ProgBlog attended the album launch of Gryphon's first studio release for 41 years, ReInvention.

More akin to the eponymous first album from 1973 than the more proggy later material, it's a worthy addition to the Gryphon canon

By ProgBlog, Aug 7 2016 10:01PM

Yesterday marked the anniversary of the first ever use of a nuclear weapon, one of only two times nuclear arms have been utilised in conflict when Little Boy (a reference to Franklin D Roosevelt who was president at the time of the inception of the Manhattan Project, the US atom bomb program) was dropped by the American B-29 Superfortress Enola Gay on the Japanese city of Hiroshima, chosen because it was one of the main supply depots for the Japanese army. The device was over 2,000 times more powerful than the largest bomb used up to that time and devastated an area of 13 km2, destroying over 60% of the buildings in the city and, at the time recorded as killing 118,661 civilians. Later estimates suggested the final death toll was up to 140,000 (from a population of 350,000 including military personnel and those who subsequently died from radiation.) Many would also suffer from long-term sickness and disability. Three days later, the US dropped a second, bigger atomic bomb, Fat Man (a reference to Winston Churchill) on Nagasaki. Nearly 74,000 were killed and a similar number injured and though this was a more powerful device, the geography of the region restricted the level of destruction to a little less than 7 km2. The Japanese were effectively left with no choice and surrendered to the Allies on 14 August 1945.

The threat of all-out nuclear war can only be exacerbated by the unwillingness of members of the nuclear club to dismantle their arsenals. I may have grown up in the town most associated with building the vessels that carry Britain’s ‘independent’ nuclear deterrent but ever since my school days when I became politically aware, I’ve believed in unilateral nuclear disarmament. A 2014 report from the Stockholm International Peace Research Institute (SIPRI) listed nine nations possessing nuclear weapons In order of acquisition: the United States; Russia; United Kingdom; France; China; India; Pakistan; Israel; North Korea. They have approximately 16,300 weapons between them. All, apart from Israel, are known to have successfully detonated a nuclear device but it is the first five which are considered to be ‘nuclear-weapon states’ (NWS) under the terms of the Treaty on the Non-Proliferation of Nuclear Weapons (NPT) whilst India, Pakistan and North Korea obtained their weapons after the NPT; North Korea did become a signatory but withdrew in 2003. Israel maintains a policy of deliberate ambiguity regarding its atomic weapons program but is estimated to have approximately 80 nuclear warheads. South Africa developed nuclear weapons but disassembled its arsenal before joining the NPT. The SALT talks resulted in some decommissioning but while any weapons exist, there’s a potential to use them. The fall of communism has given way to a dangerous nationalism in Eastern Europe and the posturing by the North Korean oligarchy can only raise tensions. At least sense prevailed over the Iranian nuclear program, though the possibility of President Trump reversing the US/Iranian accord is rather worrying.

On the flip side there’s also the peaceful use of nuclear power, the creation of clean energy from Uranium or Plutonium, plus some pretty toxic waste that hangs around for a very, very, very long time. Also as a schoolboy, I doodled imaginary nuclear power stations and, as a sixth former studying physics, stood on top of the reactor at Sellafield during a site visit (when it was still called Windscale.) At that time tests were being carried out to vitrify the nuclear waste, which would have revolutionised storage of spent nuclear fuel. Sellafield was the site of the UK’s worst nuclear accident in 1957 when a fire broke out in a reactor chimney and the surrounding countryside was contaminated with radioactivity. Amazingly, the Infield Park Gang had access to a long wheelbase Land Rover, driven by the father of a neighbour, which dropped us off at local beaches for a day during the summer holidays. Roan Head was a favourite destination, largely because of the extensive sand dune system and though we were aware of the presence of effluent in the water it didn’t stop us swimming, joking that the presence of radioactivity in the Irish Sea was sufficient to neutralise any number of bacteria.


Roan Head
Roan Head

Last week the UK government continued to procrastinate over the construction of Hinkley Point C which has been dogged by a string of controversies, not least of which is the untested design. Without heading down the nuclear waste debate, I’m equally concerned about the requirement for Chinese money and the unit price of electricity negotiated with the French company EDF who will be running the plant which almost everyone agrees is a poor deal for consumers. However, neither the delay in making a decision nor the government’s energy policy of supporting fracking and removing subsidies on renewable generation, surprises me in the least.

I can’t think of any prog albums that are about nuclear power though Steve Rothery’s haunting, atmospheric and melodic The Ghosts of Pripyat (2015) deals with a post-Chernobyl landscape. His main band Marillion released Radiation in 2008 but the reference there, in the song Under the Sun, a track that sounds more like indie rock with some good organ bursts, is global warming. The best song on that album is the lengthy A Few Words for the Dead which features a more experimental sound and approach, coming across more thought provoking with both eastern and middle-eastern sounds before an anthemic section just after half way through the song preceding a decent guitar solo. Orchestral Manoeuvres in the Dark may not be prog but their anti-war song Enola Gay (from Organisation, 1980) is an undisputed classic. It cites three references to the Hiroshima attack, Enola Gay (the aeroplane), Little Boy and the time of the bomb drop, 08:15:

“It's eight fifteen

And that's the time that it's always been

We got your message on the radio

Conditions normal and you're coming home

Enola Gay

Is mother proud of little boy today”

An OMD precursor band, The Id, according to OMD founder Andy McCluskey, was a “bunch of teenagers playing art-school rock that was on the proggy side. We had a brief flirtation with Yes and Pink Floyd.” Former Gong bassist Mike Howlett produced Messages, Enola Gay and Souvenir for OMD after Dindisc boss Carol Wilson insisted they have an outside producer for their third single, the first two having not done very well and sounding somewhat thin. Howlett was Wilson’s boyfriend.


Roger Waters was born into a family with strong left-wing views and his mother was a involved with CND. Two Suns in the Sunset from the last Waters-era Floyd albums The Final Cut (1983), released at the height of the cold war this track spells out the end of the human race in nuclear annihilation, the final track of his final cut with the band, the ultimate anti-war album. A lighter anti-nuclear arms song was released by Waters’ erstwhile colleague David Gilmour on his second solo album About Face (1984). The track Cruise refers to American Cruise missiles which were based at RAF Greenham Common in Berkshire, arriving in November 1983. There are two versions of the chorus but the first includes the line “Saving our children, saving our land” which reflects the women-only nature of the peace camp at Greenham, an important facet because the women were using their identity as mothers to legitimise the protest against the nuclear missiles for the safety of their children and future generations. Meanwhile, Gilmour protégé Kate Bush was also singing about the aftermath of nuclear conflict with the single Breathing which would appear as a more lengthy version on Never for Ever (1980.) This track has a further Floydian link, as the spoken words, taken from Protect and Survive, the hopelessly ineffectual official government instruction booklet for civilians in the event of a nuclear strike, “How to make your home and your family as safe as possible” are recited by Roy Harper. I love this track; the video was pretty epic but the brilliant fretless bass, provided by John Giblin, gives me goose bumps. On a non-progressive rock aside, Sting’s first solo album The Dream of the Blue Turtles (1985) features Russians and whereas the album is predominantly soft-jazz, Russians borrows from Prokofiev and addresses the cold war standoff, using clever lyrical references to the atomic bomb.



It may not be the longest track on the eponymous Anderson, Bruford, Wakeman, Howe album (1989) and to an extent it’s a bit of an oddity, but Birthright is not just a great sounding song with some beautiful Steve Howe guitar, it evokes vast, barely populated areas of Australia and captures the huge disservice to the Aboriginal people when the British government tested its first atomic weapon in Woomera, in 1954. The test was Britain flexing its muscle in an era when the British Empire was crumbling. This loss of global influence has continued and though there are a number of successful global British brands, our European referendum earlier this summer reflects a desire by 52% of the population to go back to the glory days of Empire. I’m only surprised by so-called progressives who want to retain nuclear weapons. They’re ridiculously expensive, they’re not independent and their deterrent value only increases when you’re willing to have the blood of millions of innocent people on your hands. Nuclear weapons? No thank you.







By ProgBlog, May 29 2016 09:00PM

In the mid-70s I was aware that progressive rock could be found elsewhere in the world other than the UK. I was very much into Focus and Trace (Netherlands); PFM (Italy); Gong (France); and even had an inkling that Wigwam were predominantly Finnish. I’d also come across the work of Swedish multi-instrumentalist Bo Hansson.

Hansson had a track on Charisma Keyboards, the Charisma sampler from 1974 that also included America by The Nice, The Fountain of Salmacis by Genesis and White Hammer by Van der Graaf Generator; Hansson’s Flight to the Ford was the shortest track on the album by some margin but the brevity of the piece didn’t deter Guy Wimble, a friend from across the road, buying Music Inspired by Lord of the Rings Hansson’s most successful assault on the UK album charts, from which the track was taken. The LP had been very successful in Sweden when it was originally released on Silence Records in 1970, partly because of the adoption of The Lord of the Rings by the counter-culture but equally because the music fitted the nascent progressive rock movement. The acquisition of Hansson by Charisma exposed Hansson to a far wider market and though his subsequent albums Magician’s Hat (Silence, 1972, Charisma 1973), Attic Thoughts (1975) and Music Inspired by Watership Down (1977) were not as successful it’s unlikely that many of us would have heard of him had it not been for Tony Stratton-Smith.


Bo Hansson's Music Inspired by Lord of the Rings
Bo Hansson's Music Inspired by Lord of the Rings

The music itself is pleasant and melodic but you could never call it over-adventurous; listening to it recently I found I liked it more than I remember doing so. There’s a space rock vibe pervading the compositions (the original Silence release cover art was quite psychedelic) and Hansson layers the instruments in a way that I think may have influenced Mike Oldfield’s modus operandi; he adds some nice distorted jazzy guitar that strays into Santana territory and, though he may have jammed with Jimi Hendrix, his playing is clearly more informed by jazz than the blues. Flight to the Ford is one of two up-tempo tracks (the other is The Horns of Rohan/The Battle of the Pelennor Fields where the cymbal work suggests clashing swords) but there’s only a relatively narrow dynamic range on the entire album; the swelling organ work conjures images of rolling countryside and though not truly pastoral, it certainly comes across as very reflective. Perhaps I was swayed more by the literary influences and references than the music itself, as Hansson employs titles from books I was reading as a teenager: The Lord of the Rings (obviously); Elidor by Alan Garner and Watership Down by Richard Adams. I suppose that it’s hardly surprising that the Swedes should have taken to modern myths from contemporary authors given their own story-telling legacy and Tolkien’s desire to create a myth to match the Norse sagas.

I travelled around Sweden as part of an InterRail adventure in 1983, making a brief stop in Gothenburg to wait for a train to Oslo,spent two hours in Boden before moving on to Finland, two full days in Stockholm, about half an hour waiting for a hydrofoil in Malmo plus hours of travel on the Swedish rail network, many kilometres of which were spent inside the arctic circle where, even in August, the landscape was stark; the trees denuded as though by acid rainfall, which was just reaching our collective environmental consciousness at the time. I really enjoyed Stockholm and wished I could have spent more time there, staying overnight on a full-rigged three mast iron sailing ship built in Whitehaven, Cumbria in 1888 (SS Dunboyne) which had become permanently moored off Skeppsholmen and converted to a Youth Hostel, the af Chapman. Travelling with college friend Nick Hodgetts, now a renowned bryophytologist, we island-hopped and explored some of the less popular areas of the city, the narrow streets behind the main thoroughfares. I don’t buy ‘tourist’ things but rather I bought a Franz Kafka T-shirt from the Akademibokhandeln bookshop, 1983 being Kafka’s centenary. The legend, in Swedish, read “Kafka hade inte heller så roligt” something along the lines of “Kafka was not so funny”.


The author in 1984 sporting the Kafka T-shirt
The author in 1984 sporting the Kafka T-shirt

The third wave of progressive rock didn’t arise in the UK but in Sweden and the USA. Around the time that King Crimson resurfaced with the double trio conformation in 1994 I started to subscribe to Elephant Talk, the King Crimson internet resource run by Toby Howard and this is when I realised that there was some form of prog revival, frequently sounding like metal with some prog flourishes but also material that was reported to sound like Red-era Crimson; heavy prog but not prog metal. It probably didn’t sink in that there was a strong Swedish connection to the prog revival until I bought my first Jerry Lucky book and with two highly regarded bands mentioned very early on in the listings, Anekdoten and Änglagård, I added Änglagård’s Hybris (1992) to my wish list (copies were selling for in excess of £50 when they were available, which was infrequent) and invested in my first ever download, Anekdoten’s Vemod (1993) because I’d read a description that suggested the music sounded like King Crimson would have done if they hadn’t disbanded in 1974, a remarkably accurate assessment. Vemod is heavy, Mellotron-drenched and although it’s predominantly instrumental, the lyrics are intelligent and call to mind Richard Palmer-James, rather than Peter Sinfield. The melancholy feel of the music is enhanced by the addition of cello; at times the guitar is like the angular playing of Steve Howe on Fragile and the bass style owes a heavy debt to John Wetton. I finally got my hands on a copy of Hybris from a stall at the Prog Résiste festival in 2014, a brilliant, less heavy affair than Vemod or the Anekdoten follow-up Nucleus (1995) but still deeply rooted in the 70s progressive rock sensibility. The darkness and sadness in this trio of albums may be in part due to the Scandinavian physical geography and latitude (nicely parodied by Steven Wilson in live performances of The Raven That Refused to Sing by asking Guthrie Govan to play guitar in the style of a number of stereotypical Swedish situations) but it’s to the benefit of every prog fan that they have such an attitude. I was fortunate to get to see Änglagård play their first UK gig at the Resonance Festival in 2014 and despite a lengthy delay due to the obstinacy of a Mellotron, it was a fantastic routine.



One name that links Änglagård and Anekdoten is Markus Resch who serviced and repaired their Mellotrons and who now owns the rights to the Mellotron name. I think I’m correct in believing that I first came across his name at the Night Watch playback in 1997 where there were two Mellotrons on display.

Another leading light of the third wave is Flower Kings, led by guitarist Roine Stolt who had joined Swedish symphonic prog band Kaipa aged 17 in the mid 70s. I managed to catch them headlining at Prog Résiste but was a little disappointed because they didn’t match expectations. I subsequently read that their later material deliberately moved away from classic analogue keyboard sounds and this fits with my memory of their set, which didn’t come anywhere close to recreating 70s prog but sounded more mainstream and, if you’ll excuse the pun, more transatlantic.



Flower Kings at Soignies 26th April 2014
Flower Kings at Soignies 26th April 2014

Sometime before I managed to acquire any of the 90s Swedish prog I’d been given Seven Days of Falling (2003) by E.S.T, the Esbjorn Svensson Trio as a present and later bought their final album Leucocyte (2008), released posthumously three months after the death of pianist Svensson. This jazz trio deliberately blurred genres and if such a thing existed, they’d be labelled as prog-jazz, incorporating electronics and noise into their recordings. It was after an E.S.T gig in Brighton in 2005 that I was caught accidentally speeding (34 mph in a 30 mph zone) searching for directions how to get out of the city centre and return to Croydon. It was still a good concert.

If you thought that the only musical export from Sweden was the over-produced Abba singing meaningless nonsense, you need to reappraise. Not only was Bo Hansson riding the first wave of progressive rock, it was the Swedes who resurrected the genre, not just as prog but as genuine progressive rock in the 90s. Bring on the Bo Hansson T-shirts!





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