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ProgBlog catches King Crimson on an auspicious date at the beginning of their 2018 UK tour

By ProgBlog, Jan 2 2018 08:32PM

New Years Eve, 2017

It’s 7pm and I’ve just started the blog. I plan to go to bed early because I’m on call and I’m hoping that revellers don’t accidentally contribute to the strain on hospital A&E departments. Not a fan of this night, any year, because of the way it’s been hyped up by advertisers and the drinks industry and how it seems to have become accepted that on this particular occasion it’s OK to get totally wasted, my best new year was spent stargazing on the summit of a small drumlin on the Furness peninsula to mark the transition from the 1970s to the 80s.


Night sky over Furness
Night sky over Furness

TV has been awful this week. The BBC 24 hour news channel has been filling the gaps between genuine pieces of news with reviews of the year for Sport, Film, Deaths, Royals and so on, shown with a frequency that positively numbs so that it becomes difficult to work out which day of the week it is. Having gone to see Crystal Palace play today I can confirm that the football schedule doesn’t help with this feeling of dislocation; lucrative broadcasting deals mean that Premier League teams and their fans are at the mercy of TV executives so that this year, what used to be traditional Boxing Day fixture took place over three days and the New Year’s Day fixture is also due to be spread over three days. Throw in odd kick off times (Palace played at noon) and it’s also messing around with my circadian rhythm.


A couple of days ago we had the announcement of who appeared in the New Year’s Honours list. This is something of a end-of-year ritual and despite a promise to end cronyism, a concession wrung out by a public increasingly disillusioned with the way politics works, we end up with a knighthood for Tory kingmaker Graham Brady and another for ex-deputy PM Nick Clegg, whose lust for power facilitated 7 years of austerity, massive student debt and the impending destruction of the NHS. This ‘recognition’, though a little better than the obvious returning of a favour to Lynton Crosby in the list last year, reinforces the notion that politics is played by an elite for people within their own, tiny bubble and with little or no connection to everyday life. This is obviously not the case for all MPs but there are a number of parliamentarians (and, at a local level, councillors) who use their power and influence to manipulate policy so that it benefits themselves or their families; those with directorships of private health companies or the landlords of multiple properties, for instance. If there’s one burning issue of the times it must be inequality, whether that’s a lack of access to decent housing, decent social services and healthcare provision or decent jobs but, to the shame of us all, the gap between the haves and have nots is getting wider.


PM David Cameron and Deputy PM Nick Clegg (Getty Images)
PM David Cameron and Deputy PM Nick Clegg (Getty Images)

I find it obnoxious that the lies told during the Brexit debate have put the country in a position which exaggerates inequality; resentment at a lack of investment in former industrial regions, backed up with the spurious mantra that we’d ‘take back control’ was channelled into stoking anti-immigration sentiment and the subsequent devaluation of Sterling means that the increased cost of goods disproportionally affects the less well-off whereas the concomitant rise in share value benefits the already wealthy. It’s incredible that we can boast about the return of blue and gold passports (during the increased time in queues at customs, perhaps) swapped for seamless, invisible borders for exports and imports, and continue an archaic honours scheme which celebrates the achievements of some of the most inappropriate individuals. As for football, today’s Palace performance might have convinced me that it’s ok to get another season ticket for next year; the lack of application from players on silly wages at the beginning of the season felt like they didn’t care about the fans who pay to see them play, their earnings outstripping that of the average punter by some unholy figure.



Crystal Palace vs. Manchester City 31/12/17
Crystal Palace vs. Manchester City 31/12/17

I’m a bit torn by the awarding of any kind of prize where intangibles are weighed up by panels because everyone has innate bias; likes and dislikes. One of the rituals I used to go through as a youth in the mid-70s was to check the Melody Maker, NME and Sounds annual polls to see how the artists that I favoured fared. Some of the results ran counter to both my tastes and to reason, such as Gilbert O’Sullivan reaching no.2 in the Male Singer category and no.4 in the Keyboards category of the 1972 MM Readers’ Poll and I was somewhat bemused by some of the musicians ranked in ‘Miscellaneous Instrument’ because it didn’t tell you which particular instrument it was referring to for each artist and they could easily have been covered by one of the other categories.


The concept has been taken up by Prog magazine which, apart from holding an awards ceremony includes an annual 20 Top Albums of the Year feature where the results are culled from the preferences of the journalists themselves. Additionally, we were invited to vote in their annual reader’s poll, mimicking the format of the classic music papers during the 70s, with the results due out in the next edition. I’ve moved on a little since the 70s and though I don’t mind a list that is supplemented with a bit of information, the Top 20 Albums of 2017 as chosen by the writers at Prog magazine isn’t really my thing. However, I submitted some obscure choices for the Readers’ Poll so I will take a look at the published results.



New Year’s Day, 2018

After listening to one of my Christmas presents, the excellent Three Piece Suite retrospective by Gentle Giant, the first complete recording I’ve listened to for nearly a week due to work, football and family commitments, I thought I’d share some of ProgBlog’s category winners, based on material released in 2017 and the concerts I attended, material unlikely to get much of a mention in Prog...


Playing Three Piece Suite by Gentle Giant
Playing Three Piece Suite by Gentle Giant

(I got called out and got home a little before midnight)

Back to the blog. Tuesday 2nd January


Album of the year: An Invitation by Amber Foil

Strictly an EP, this is the creation of João Filipe, and it’s a wonderful, all-round and well balanced item. The music takes you back to classic 70s prog, blending very modern concerns with a kind of Grimm’s fairy tale. The quirkiness of the music is reflected in the CD packaging which also contains a ‘blueprint for a house’. It’s unique. Get yourself a copy.


Commended: Alight by Cellar Noise


Bassist: John Wetton

Wetton died in January 2017, the third original progressive rock bassist to pass away in the last couple of years. Whereas there are undoubtedly a large number of amazing technical players who were represented on record or I saw play live during 2017, the accolade has to go to Wetton for the unbelievably wide range of material he’s left for us, including some of the most inventive lines expressed during his time with the 1972 – 1974 incarnation of King Crimson. A great loss to the prog community.


John Wetton circa. Caught in the Crossfire
John Wetton circa. Caught in the Crossfire

Drummer: Franz di Cioccio

The only original member of PFM remaining in the band, di Cioccio now spends as much time behind a microphone acting as front man as he does behind his kit, but along with long-term associate bassist Patrick Djivas he’s steered the ship through periods of not-so-good music to produce their best album of original material for a very long time. Emotional Tattoos may not quite hit the heights of L’Isola di Niente and Photos of Ghosts (I think it lacks sufficient contrast) but the songs are strong and the playing assured. Di Cioccio’s boundless energy, with either sticks or mic stand in his hands, is something to behold.


Guitarist: Allan Holdsworth

Holdsworth is another progressive rock legend who died last year, though in reality he was probably more of a jazz guitarist whose fluid lines graced releases by Tempest, Soft Machine, Gong, Bruford and UK. Highly regarded by other guitarists, his style was idiosyncratic. He’s another fine musician who is sadly missed.


Keyboard player

There are actually too many excellent prog keyboard players to choose from. Of course it’s great to see Rick Wakeman performing classic Yes again with ARW but I’ve also been most impressed with up-and-coming talent from Italy like Niccolò Gallani from Cellar Noise and Sandro Amadei from Melting Clock.


Miscellaneous instrument: Mel Collins, King Crimson (flute, saxophones)

I’ve always considered this a category for non-conventional rock instrumentation, rather than picking a particular type of keyboard like Moog, Mellotron or synthesizer but it was fine when Mike Oldfield used to pick up the prize for playing everything. My preference for a prog-associated instrument not covered by bass, drums, guitar or keyboards is the flute, followed by violin; I was very impressed with Lucio Fabbri when I saw him with PFM and his playing on Emotional Tattoos is real quality but I’m going to plump for Mel Collins for his woodwind. Crimson may not have played the UK in 2017 but the set-list for the US gigs, released on vinyl and CD last year, highlights the formidable talents of Collins.


Vocalist: Emanuela Vedana, Melting Clock

I’m one of a fairly small number of people to have seen the two gigs by Melting Clock but I don’t imagine it will be too long before they reach a much wider audience when they release an album later this year. Their brand of symphonic progressivo Italiano would undoubtedly appeal to all fans of the genre, but two obvious reference points are Renaissance and neo-prog. The songs are highly melodic and well-crafted with multiple layers, utilising twin guitars and keyboards to set the tone for Emanuela’s strong, operatic vocals. Simply stunning.



Live act

Choosing a favourite live act is too difficult, so I’m not going to make a decision. I’ve managed to get to see quite a number of Italian bands from the 70s, including PFM at the fourth attempt, and seeing Wakeman, Jon Anderson and Trevor Rabin performing Yes music together was quite special, but it’s the surprises like Cellar Noise and Melting Clock, both of which included accurate early Genesis tributes in their sets, which make it impossible to decide on an outright winner.


Cellar Noise at the Legend Club, Milan
Cellar Noise at the Legend Club, Milan

Venue: Porto Antico, Genova

Choosing a favourite venue is equally hard. The acoustics inside neo-rationalist Teatro Carlo Felice in Genova are brilliant, but the architecture and the internal decor are terrible; the Royal Festival Hall is a great looking building, also with amazing acoustics but I was disappointed with the Dweezil Zappa set. I loved the intimacy of Genova’s La Claque whereas Rome’s Jailbreak Club was a bit too crowded over the weekend of the Progressivamente festival. Brighton Dome is a beautiful performance space though it can be a bit of a drag getting back from Brighton by car or public transport at the end of a gig.

A fantastic setting, good sound and a great line-up made the Porto Antico Prog Fest very special and it was only a 10 minute walk back to my hotel.









By ProgBlog, Oct 12 2014 06:04PM

Sometimes prog themes turn up in unusual places...

Many years ago I didn’t appreciate the Zoology classes drawing animal skeletons and stuffed or pickled specimens and I wasn’t keen on spending a two hour Geology practical lesson drawing rugosa, an extinct order of coral that were abundant in Middle Ordovician to Late Permian seas. I had wanted to do Biophysics at York but disappointing A-level results meant that I ended up doing Botany and Zoology, with Geology as a first year option (that I somehow managed to drag on into my final year) at Goldsmiths’ College, University of London.

Though I would probably make a different choice of course and career if I could have my time over again, the landscape around Barrow extending up into the Lake District but also including a decent amount of coastline, instilled a love of the natural world and the natural sciences. Having been told by my headmaster at the age of 11 that I didn’t read enough, I embarked on a fifteen year literary binge that took in classics (Austin, Bronte, Dickens, Hardy); modern classics (Hesse, Kafka, Peake); fantasy (CS Lewis, Tolkien); SF (I distinctly remember the yellow jackets on hardbacks by Ursula Le Guin, published by Gollancz that I would borrow from the town library); and a burgeoning genre aimed at children, from Robert Westall’s The Machine Gunners to Alan Garner’s Weirdstone books, a trilogy recently completed by the excellent Boneland (2012). Landscape and literature became important influences; the geology of Low Furness was moderately complex and was responsible for the industrial landscape superimposed over the natural. In my mind, I equated Tolkien’s The Shire to the contours of the former haematite workings around Furness, perpetually verdant by virtue of the prevailing moisture-laden westerly breezes from over the Irish Sea. Local ruins Furness Abbey, Piel Castle and Gleaston Castle imposed their history on the scenery but I was equally interested in landmarks that added to the mythical setting: Birkrigg Stone Circle. My interest in the cosmological was partly inspired by this environment; the artificial light from the town was effectively cut off by the drumlins that surrounded Furness Abbey and clear nights were ideal for stargazing. On more than one occasion a small group of us would access the playground of St Paul’s School at night, itself surrounded by tall trees that eliminated any extraneous sodium glow from the street lights, and lie there, staring up at comet showers. I link this behaviour with my love of progressive rock; the exploration of my environment, the thirst for the written word and the possibilities linked to space travel all fit in with grand prog themes.

That my school years were important in forming who I’ve become has only relatively recently become apparent. It was around the time when my son Daryl was completing his studies that I realised that my youth exploring Furness and the Botany, Zoology and Geology classes all fitted in with my understanding of the universe. I think that my undergraduate courses were badly taught and that’s why I didn’t really appreciate comparative biology.

This knowledge may have lain dormant but there was also a continuing accumulation of information as I attempted to show him things I’d learned, tried to answer his questions and also listened to what interested him.

The unusual place to discover a prog theme, a Rock Progressivo Italiano theme in fact, was on the beach at Lancing in West Sussex. At low tide one weekend, the family were taking some mild exercise on the beach and came across rocks perforated by even-sized holes. It’s hard to believe that this effect was not the result of some human derived mechanical activity, simply because of the regularity of the holes, but I recalled some ancient zoology and knew that the holes were produced by burrowing marine animals. I was reminded of this episode as I travelled home from work last Friday when I was playing Concerto delle Menti (Concerto of the Mind), the only album by Pholas Dactylus, a band from around Bergamo, released in 1973. The group was named after the marine mollusc Pholas dactylus which is found around the north Atlantic and Mediterranean shores and was once a revered source of food. This shellfish has a couple of interesting properties; it is luminescent (a property recorded by Pliny that probably accounts for its esteem) and it is also capable of boring into rock; the chalk of West Sussex can’t have presented too much of a problem because the creature is capable of boring into gneiss, a form of high grade metamorphic rock.

The album was based on an apocalyptic poem by their vocalist Paolo Carelli who narrates the story by spoken word, rather than singing and the lyrics laid out in the inner sleeve are preceded by an enigmatic sentence attributed to Paolo Marcello: “A tall column made of bricks... ...each brick a word... ...the meaning of which you can understand just by looking at the base or on top of it...”

The storyline borrows imagery from a variety of biblical sources, most notably Revelations, something that had previously been attempted by Aphrodite’s Child and Genesis, but this comes across as more frightening and psychotic and includes a very abrupt ending. The spoken passages are punctuated by extended musical interludes that vary between jazz, jazz rock, pastoral breaks and psychedelia, representing the build-up and release of musical tension. Carelli’s words and voice fit really well though some online reviewers find the narration irritating; personally, I like the poetic flow. The opening section sets the scene “You are going to take a tramway. In a while you’ll be on an old, battered tramway carriage, looking like you after a black, empty, paranoiac day...” which hints at possible inspiration through stimulants and certainly suggests that the tram journey is a bad trip. The album is really one piece, split into two parts by the restrictions imposed by the original vinyl format and unlike many RPI releases, which barely include over 30 minutes of music, this is a very lengthy production with part 1 lasting over 29 minutes and part 2 almost 24 minutes. When I first listened to it, I knew that I would need to listen to it again without distractions to really appreciate the startling originality and subtle nuances of the work. Despite a well-received live following the album had poor sales and critics were at best indifferent to the work. I think this unique piece of work ranks as one of the best hidden gems of the original RPI scene. Sadly, the group broke up following the album’s release.


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