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

By ProgBlog, Nov 19 2018 02:31PM



Contrary to my previous pronouncements about the availability of prog in Venice, I can now reveal that there is a relatively new record store in the city, Living in the Past, Sestiere Dorsoduro 3474, 30123 Venezia, and it’s pretty good. Venice was where I first made a conscious effort to collect Italian prog, in 2005, when there were two shops to choose from. My diary from that particular trip reveals that sometime after lunch on Wednesday 13th July, the second day of the holiday (my wife’s first time in Venice), we began winding our way back towards San Marco via the side streets of Dorsoduro, a slow but purposeful journey in the afternoon heat. Anyone familiar with the city will appreciate how you find yourself doubling back on your tracks as you seek a bridge over a canal so that what looks like a straightforward journey on a map devoid of detail is in fact fiendishly complex. I maintain that undertaking adventures through Venice’s maze-like alleys is the best way to explore the unique city, where you come across well-known tourist spots and less recognised gems by accident. That particular trek resulted in the discovery of what looked like prog heaven, despite its name: Discoland, a music shop with all manner of progressive rock CDs in the window, including the entire 2005 re-mastered catalogue of Van der Graaf Generator; Egg; King Crimson; Gentle Giant; Steve Hackett and more... but it was closed for lunch! A quick check of the time revealed that the store was due to reopen in 15 minutes so I popped into the Leonardo da Vinci exhibition in the Chiesa di San Barnaba until the shop owner returned, late. I asked if he had any Italian prog, but he said no. Rooting around did reveal that he had a couple of CDs by The Trip so I picked out Caronte, reissued in a cardboard sleeve, the first Egg album, and The Least we can do is Wave to Each Other, H to He, Pawn Hearts and Godbluff from the VdGG selection.


Though considered a classic progressivo Italiano record, I’m not actually such a great fan of Caronte (1971), a concept album based on the ferryman character Charon from Dante’s Divine Comedy who initially objects to taking Aeneas, a living man, on his boat; Charon is re-interpreted by The Trip as a metaphor for conformity. It’s steeped with psyche/blues characteristic of proto-prog, so comes across as more Iron Butterfly than The Nice. The Trip were actually founded in London in 1966 and included Ritchie Blackmore on guitar but the future Deep Purple guitarist had departed before the arrival of Joe Vescovi, whose keyboard style, influenced by Keith Emerson, is the best feature of the band. The other Venice music shop was Parole & Musica in the Castello Sestiere where I bought an early PFM live compilation The Beginning 1971-1972 Italian Tour. A day trip to Treviso on that 2005 holiday also involved finding a record shop where I bought Concerto Grosso n.1 and 2 by New Trolls, the very disappointing Donna Plautilla by Banco, and an album I’d really wanted to buy in Venice itself, Contrappunti by Le Orme, because that was where the band formed. Originally a beat group, they underwent some personnel changes and then released what many regard to be the first RPI album, Collage, in 1971. I managed to get to see the current incarnation earlier this year in Brescia with David Cross as a guest musician. The album that I most associate with the city is actually Le Orme’s Florian, released in 1979, named after Caffè Florian, alleged to be the oldest establishment of its kind in Europe, dating from 1720 and located under the Procuratie Nuove in piazza San Marco. A two-year hiatus following 1977’s Storia o Leggenda allowed the group to prepare for what seemed like a radical departure from progressive rock, where the electronic instrumentation was replaced with acoustic and early instruments. The result is still recognisable as Orme (they dropped the definite article from their name for the release) even though it should more correctly be referred to as chamber music or chamber prog; the original idea is said to have come from keyboard player Tony Pagliuca who realised that audiences were turning away from prog but didn’t want to subscribe to the mediocrity of commercial pop. The pieces on the album are effectively a protest against destructive economic forces within the music industry and those in the wider world choking other aspects of Italian culture. The lack of a record shop on the island(s) meant I had to look elsewhere for a copy, eventually finding the CD in Vicenza’s Saxophone record store on a day trip out from Venice in 2014; I found a second-hand vinyl copy earlier this year, on Record Store Day, on a stall in Cremona.



I spent a couple of days in Venice during the summer of 1980 on a month-long Interrail trip, staying on Giudecca in a youth hostel, and was blown away by the city. During that stay PFM were playing somewhere in Mestre but I didn’t have the wherewithal to organise getting to see them. On 15th July 1989 Pink Floyd famously played on a barge floating in the Grand Canal, nearing the end of the Momentary Lapse of Reason tour. This was broadcast live on Italian TV and precise timing restrictions meant that some songs had to be curtailed before their natural ending. I recorded this performance when it was shown on UK TV but that disappeared in a clear out of VHS tapes years ago – it’s now available as an unofficial DVD release Pink Floyd ‎– Pazzia & Passione - Live In Venice '89 from Room 101 Entertainment.

The closest I ever got to live prog in Venice was seeing the construction of a stage for Peter Gabriel playing an open air concert in piazza San Marco in 2007; we were staying less than 50m away in the Albergo San Marco but our flight back to the UK was a matter of hours before the performance – apparently Signal to Noise and Washing of the Water were played at the sound check in the early afternoon, where Gabriel acknowledged the fans who had begun to gather around the square after realising that he was present on stage. If that had happened in the last couple of years I’d have found accommodation for an extra night and bought a flight for the following day.






Despite the presence of Living in the Past and the historic connection of Le Orme to the city, Venice doesn’t really appear to have much of a connection with the modern prog scene apart from being somewhere bands like to perform – King Crimson finishing their mainland continental European tour with two dates at the end of July this year at Teatro La Fenice, for example. The ubiquitous newsstands of Italian cities, normally packed full of journals and periodicals, handy for picking up copies of Prog Italia and maybe the DeAgostini classic rock progressivo 180g vinyl reissues, are filled with tourist tat in Venice. Last year my wife found a copy of Prog Italia on Lido for me but there was nothing on any newsstand in any of the main Sestiere this year, or in any of the larger Tabacchi.


Apart from the basic accommodation on Giudecca, I’ve previously only stayed at hotels close to the piazza San Marco when visiting Venice. This trip was a departure from that norm, splashing out on an NH hotel in Dorsoduro abutting neighbouring Santa Croce, an area largely tourist-free but filled with students; there are two universities in the area, Università Ca’ Foscari and IUAV, the architecture school, contributing to the really good vibe. There’s a relative paucity of Venetian gothic and a noticeable presence of more modern architecture, which may explain the lack of visitor interest despite its proximity to the cruise ship terminal, Santa Lucia station and the bus terminus, one of only two places where cars are allowed (the other being Lido) but there are still dozens of friendly restaurants and bars where an Aperol spritz is half the price you pay in London. It wasn’t supposed to be a prog trip – we’d gone for the Architecture Biennale – but there does seem to be more than a passing link between architecture and prog, beginning with the early years of Pink Floyd at Regent Street Polytechnic.


However far removed from modern prog, the city is still able to turn up references to the genre in some of the oddest places. Hats Off Gentlemen it’s Adequate have just released a new CD, Out of Mind which includes the track De Humani Corporis Fabrica, named after Andreas Vesalius' treatise on human anatomy from 1543 which challenged the prevailing doctrine proposed by the Greek physician Galen in the second century AD. I’m a particular fan of the song because it features some of Kathryn Thomas’ gorgeous flute and also includes a passage in 13/4 time, so when I came across the Mario Botta Architects’ installation in the Corderie at the Arsenale, a tactile, circular timber structure where the work of students was presented as tabernacle-like architectural research, I was amazed to find a section labelled De Humani Corporis Fabrica!


Like all cities Venice continues to change. Living in the Past was previously a second hand bookstore but was revamped in 2017 as a shop selling books and second-hand vinyl. There’s a decent selection of Italian prog along with a good selection of international prog and classic rock. Handily, it was a five minute walk from the hotel where we were staying and though I didn’t imagine that I’d find any records on this trip, I still had my cotton LP bag to hand for my purchases: Par les Fils de Mandrin by Ange and David Gilmour’s About Face, an album I’ve never physically owned in any format but once had a tape recorded from a friend’s LP. The shop is certainly a welcome addition to the Venetian landscape, a retail gem amongst some of the most stunning architecture in the world.








By ProgBlog, Oct 18 2018 07:02PM

I’ve just finished reading Will Romano’s analysis Close to the Edge: How Yes’s Masterpiece Defined Prog Rock (Backbeat Books, 2017) which deals in the minutiae of how the album came to be made, with input from many of the participants, both musical and non-musical. Apart from being a really enjoyable read for a fanatic like me, i.e. someone who believes Close to the Edge is not only the definitive progressive rock album but also the best album, ever, it touches on the impact the record had on other musicians and some (American) celebrities, and raises the question of inter-band rivalry.



The idea of ‘rivalry’ between the original cohort of progressive rock bands is something I originally thought about not long after discovering the genre in 1972 after hearing Close to the Edge for the first time, though in the context of fan affiliation. The Nice were the second band I listened to, who by that stage had already been disbanded for two years, followed by Pink Floyd and Emerson Lake & Palmer and then hosts of others. At some time in the early 70s I must have read that Hawkwind fans didn’t like Yes music (though I’ve never believed Hawkwind were a progressive rock band) and, from a personal perspective, I don’t appear to have had any inclination to listen to Genesis, based on some non-specific prejudice or resentment, until one of my friends bought a copy of the compilation LP Charisma Keyboards (released April 1974) which included the Nursery Cryme track The Fountain of Salmacis; then I was hooked. This sudden appreciation of Genesis also allowed me to view the entire genre as something inclusive with myriad bands all bringing something of value to the progressive rock world.


With two showman-like stars in Rick Wakeman and Keith Emerson, the music papers of the time gossiped about Yes-ELP rivalry which at the time I interpreted as a suggestion of enmity. Will Romano covers this in his book but the two keyboard players themselves have elsewhere written about and discussed their friendship, with Wakeman explaining how the two used to lunch together and laugh about their perceived competitiveness, with fans debating which of them was the better. The explanation put to Romano by Emerson was that any success of Yes would spur ELP on to greater things, whether that was song concepts or live sound. Wakeman has pointed out that the two friends came from different stylistic backgrounds, Wakeman himself from classical and Emerson from jazz, so that any ‘who is the best?’ argument boils down to the listener’s preferred style. In the October edition of Prog magazine (Prog 91), Emerson pips Wakeman in a readers’ poll for the best keyboard player...


It was fairly evident, even to a naive youth in 1972 or 73, that intra-band relationships could involve enough tension to tear the band apart; this probably being when I came across the risible term ‘creative differences’ for the first time. A review of the history of Yes, even at that moment in the early 70s, was enough to demonstrate the Machiavellian designs of certain band members intent on reaching their personal goals at whatever cost. I would come to realise that this behaviour wasn’t restricted to Yes, though later versions of the group could be equally brutal; it was sometimes difficult to discern whether ego or musical direction was a cause of conflict. On the other hand, gifted musicians left groups for perfectly understandable reasons like illness, stage-fright or an inability to reconcile family life with constant touring. However, it seemed to me that the overall scene was one of relative stability: Bruford had already left Yes when Close to the Edge was released; Pink Floyd had long put the dropping of Syd Barrett behind them and whatever personality differences were simmering under the surface wouldn’t rise until the end of the decade; the ELP juggernaut rolled on; Genesis had formed the classic quintet and were yet to begin shedding members; Gentle Giant had a settled line-up; Jethro Tull also had a settled line-up. Focus may not have been the most stable of bands, with a rhythm section that was frequently reinventing itself, and there were seismic changes in the pre-Larks’ Tongues in Aspic King Crimson, played out before I got into them, but the one glaring exception to the seeming constancy of the movement, at least among those represented by the music that I owned or listened to, was the flux within the Canterbury scene.


Soft Machinery - from Pete Frame's first volume of Rock Family Trees
Soft Machinery - from Pete Frame's first volume of Rock Family Trees

From a progressive rock fan’s point of view, the first major upheaval I felt was Wakeman leaving Yes for a solo career in 1974 and his eventual replacement, Patrick Moraz, breaking up Refugee. Their eponymous debut, one of my top five albums of all time, came out three months before Wakeman’s split and based on the quality of Refugee, I could only rue the loss of such a promising musical force. With the decommissioning of the 60’s – 70’s King Crimson in 1974 and the self-imposed temporary withdrawal of Yes, ELP and Pink Floyd from the scene in 1975, a number of musicians were left to occupy themselves outside of a group context, some releasing solo material with assistance from quite diverse sources. That meant that any rivalry that may have existed disappeared in an atmosphere of collaboration.


Friendships were formed when bands toured with one another and it wasn’t terribly unusual to come across a fellow act paying in the same city while touring; mutual respect between musicians is frequently quoted in biographies, creating a network of potential players for a ‘solo’ work. I mapped this network, based on musicians featured on albums in my record collection from the late 60s through the 70s and including two from the 80s, for a short article ‘What is Progressive rock?’ which accompanied a self-compiled 2CD set presented to a friend who was rediscovering prog in 2004. Though hardly comprehensive, it did indicate that even within a narrow range of groups, there was a healthy degree of interconnectedness.


Prog connections - in its original colours!
Prog connections - in its original colours!

I’ve not attempted to update or redraw this chart because the post-millennium revival of prog has resulted in an explosion of new bands, the reformation of old bands (sometimes with an extensive cast of new talent) and even instances where the assistance of an established musician is enlisted to help out with a less well-established act (João Felipe’s Amber Foil project enlisted the help of Manuel Cordoso, formerly of premier Portuguese 70’s symphonic prog band Tantra, who added guitar parts and produced the An Invitation EP.) Also, the original chart only covered three non-UK bands, Focus and Trace (Netherlands) and PFM (Italy). Any new review of the information would have to include more Italian bands to reflect my growing collection of progressivo Italiano, which I have recently discovered have their own extensive networks. There’s even a series of ‘supergroups’ with their own identity though they exist simultaneously with the groups that act as the main vehicle for the individual musicians.


The swelling number of connections between groups has to be due primarily to the increase in numbers of album releases and the additional bands that have appeared in the last 45 years, but the interest in the genre following a period when ‘prog’ was a dirty word seems to have had an unexpected positive effect, bolstered by Prog magazine and books from people like Will Romano, allowing the movement to become a large, happy family, almost encouraging bands to offer guest appearance slots to other musicians. This extended family idea, where guesting on different albums or joining a touring band, possibly in addition to being in their own group, facilitates earning a living as a professional musician. The days of the multimillion-selling prog album are over, along with self-imposed tax exile status, a huge advance for the next release and limitless studio time, so unless there’s another income stream, even if that means playing in the backing band for some pop act, it’s unlikely that music alone can pay the bills.


To challenge myself, I've begun the October ProgBlog album playlist based on the notion of interconnectedness. I've chosen direct connections between artists on a particular release, using an artist once only for a link to another album. For example, Patrick Moraz’s i features Jeff Berlin on bass, so the next album in the sequence also features Berlin and the next link is through a different musician on that record. This exercise predominantly features 70’s music but some of the LPs covered are from more recent incarnations of 70’s bands. The results will be available for scrutiny at the beginning of November...







By ProgBlog, Sep 24 2018 03:48PM

The weekend starting on Friday 14th September was rather busy. After finishing work at 5pm I arranged to meet family for a meal at Canonbury Kitchen, conveniently located close to Highbury and Islington station and the Union Chapel where I’d got tickets to see Gryphon’s album launch gig for ReInvention, their first studio album for 41 years. For anyone requiring a pre-Union Chapel gig meal, Canonbury Kitchen is a modern, informal Italian restaurant with exposed brickwork and high ceilings that’s been around since 2010, offering both traditional and contemporary cooking at competitive prices and with very friendly and attentive staff – it comes with a ProgBlog recommendation. My brother Richard was the only other one of the family attending Gryphon and he didn’t know what to expect, either from the music or the venue itself.


There was no queue outside the chapel when we approached, about 15 minutes after the doors opened (unlike for Tangerine Dream earlier this year where there was a human chain snaking around the block) but the pews in the central seating block were almost entirely filled or reserved with articles of clothing while their owners frequented the bar. After a brief stop at the merchandise stand for a copy of ReInvention (currently only available on CD) and an ‘Ashes’ T-shirt, with lyrics from the penultimate track on the new album, we took our place close to the front in the pews to the right of centre. Richard was impressed with the setting, but who wouldn’t be? I saw the band at the Holy Trinity Church in Claygate in March this year and thought that was a fitting venue, despite the secular style of Gryphon’s music; however, the Union Chapel is something else, a unique architectural gem.



The present building dates from 1876, when the foundation stone for a design by architect James Cubitt was laid. Cubitt had some renown as a designer of non-conformist churches and based his design for the Union Chapel on the medieval cathedral of Santa Fosca on the Venetian island of Torcello, proclaiming that he wanted to “step out of the enchanted circle of habit and precedent... ...to break through the tyranny of custom.” The chapel was inaugurated in 1877, but the spire, part of the original plan, was subject to delays over cost and work on a modified design didn’t commence until 1881, eventually reaching completion in 1889. The incumbent minister responsible for the rebuild, Dr Henry Allon, expressed a desire to put music at the heart of the new chapel and the magnificent rose window, with its angels playing musical instruments, is a reminder of those wishes which continue to hold true.



What we got was a performance of almost all of the new album, plus early favourites Kemp’s Jig, Estampie, The Unquiet Grave, The Astrologer and a medley of material from Red Queen to Gryphon Three; back in March they had only played a couple of new tracks, one of which was Rhubarb Crumhorn. The other difference between the Claygate Musical Festival and Union Chapel performances was that bassist Rory McFarlane was temporarily unable to play so his part was taken by Rob Levy. I think the new material is more closely related to the first album, despite a couple of songs being written for, but not making it onto, Raindance which were re-recorded for the ReInvention.

The main attraction of the band’s music to fans of progressive rock, apart from the incredible musicianship, was surely the dense textures created by Richard Harvey’s ever-expanding keyboard set-up that included some distinctly non-early musical instruments. Of course prog-heads weren’t averse to medieval instrumentation which also formed an integral part of the Gentle Giant sound, and even the whimsy and humour, a constant strand running through Gryphon song titles, fitted in with a prevailing appreciation for Monty Python’s Flying Circus. I just think that the band’s trajectory, from Gryphon (1973) to Treason (1977) was in an ever-more (progressive) rock direction, leaving behind the early music and folk adaptations that had, to a greater extent, made them stand out. If I were to make one criticism of the self-penned 70s material from Midnight Mushrumps onwards, it would be that there wasn’t always a satisfactory resolution to their pieces even though Red Queen to Gryphon Three remains my favourite Gryphon album; I think that some of the compositions lose their way. On the other hand, the first album and ReInvention include music that sticks more closely to a song format with distinct beginnings, middles and ends, like The Unquiet Grave, a traditional tune with a haunting, other-worldly bassoon section and an agreeable ending or even instrumental Hampton Caught from the new release. Part of the reason for this return to early music form must be down to multi-instrumentalist Graham Preskett who first appeared with the band in 2009. With quite a few song-writing credits to his name on ReInvention, his use of violin and mandolin, and a hefty dose of harpsichord patch have pulled the ensemble’s sound back in a more folk-rock direction. Richard did comment that he thought it might have been a bit more rock-y and was surprised that Graeme Taylor didn’t use his Telecaster very much.


Their sound was fairly well balanced from our seating position and though the performance seemed looser than at Claygate where they played more of the full Gryphon repertoire, the clear individual instrumental lines demonstrated the complexity of the music. The one song that didn’t quite work, possibly because of the frequent switches between keyboards and woodwind, was The Euphrates Connection and I was a little disappointed with Hospitality At A Price...(Dennis) Anyone For? – a throwback to 1920’s music that could serve as a sequel to Le Cambrioleur est dans le Mouchoir from Raindance.


The between-song banter, an alleged democratic endeavour shared equally between the members while allowing Brian Gulland and Andy Findon to change instruments, was apparently undermined by humorous interjections from their colleagues. However, we were given to understand that percussionist David Oberlé was dissatisfied with the characters he’d been chose to voice: the serving girl in The Astrologer and the Aged Man in Haddock’s Eyes, amidst suggestions of type-casting! We listened to the CD on Saturday, a beautifully produced album that must have caused huge technical problems getting the right levels for such an array of instruments, and where The Euphrates Connection works perfectly.

Gryphon continue to carve out their own niche with a blend of early music and modern. The crumhorn may be their USP but I’m personally in favour of more bassoon in progressive rock – it has such a beautiful tone – and Gulland’s quotations from Over the Rainbow, Chattanooga Choo-Choo and other well known melodies during Estampie is a great crowd-pleaser. It was a very enjoyable gig and it’s a great CD. Unfortunately for me the vinyl is on its way so I’m going to have to buy that, too!










By ProgBlog, Jun 26 2018 02:59PM



It doesn’t take much to get me on an aeroplane to Italy, but the promise of a good band is an added incentive. The last trip to Milan for the FIM Fiera Internazionale della Musica was primarily about getting to see Anekdoten, something of a coup for the Black Widow Records-organised Prog On evening, with a support slot from La Fabbrica dell’Assoluto whose excellent 1984: L’Ultimo Uomo d’Europa was added to my record collection earlier this year. I’d also been informed that the third band on the bill, Hollowscene, was another amazing symphonic prog band well worth looking out for.


Originally a duo called Banaau formed in 1990 by guitar player Andrea Massimo and keyboard player Lino Cicala, they recruited drummer Davide Quacquarella and bassist player Dino Pantaleo to perform long-form suites inspired by T.S. Eliot’s The Hollow Men and The Love Story of J Alfred Prufrock and Edgar Allan Poe’s The Conqueror Worm, but didn’t spend any time recording the material. There was a hiatus following the departures of Quacquarella and Pantaleo lasting from the early 90s until 2011 when the pair met again and agreed to continue working on songs written by Massimo during that almost 20 year gap. In 2015 they officially re-emerged as a septet, augmented by Andrea Zani on keyboards, Elton Novara on guitar, Tony Alemanno on bass guitar and bass pedals, Matteo Paparazzo on drums and Demetra Fogazza playing flute and adding vocals, and released a highly-acclaimed 20 minute-long EP The Burial inspired by The Burial of the Dead, the first of five sections of T.S. Eliot’s The Waste Land (1922).


For their first full-length album, Massimo and Cicala changed the band name to Hollowscene and replaced Novara with guitarist Walter Kesten. The new moniker recalls T.S. Eliot’s The Hollow Men but is also a play on the current geological era, the Holocene, and could even allude to the general state of music, a hollow scene. Once again, this features a lengthy concept, a five-part suite Broken Coriolanus and the album also includes a reworked version of The Worm, one of their original compositions, plus a cover version of The Moon is Down, a 1971 Gentle Giant song taken from Acquiring the Taste.


‘Broken Coriolanus’ is another T.S. Eliot reference, appearing in line 215 of The Waste Land:


Only at nightfall, aethereal rumours

Revive for a moment a broken Coriolanus


This itself is a reference to Shakespeare’s tragedy Coriolanus, based on the life of the legendary Roman general Caius Marcius Coriolanus who, following military success against uprisings challenging the government of Rome becomes active in politics. A proud, rude but genuine character whose nature, according to Menenius in the play


...is too noble for the world:

He would not flatter Neptune for his trident,

Or Jove for’s power to thunder. His heart’s his mouth:

What his breast forges, that his tongue must vent


Such a temperament made him unsuited to popular leadership and he is quickly deposed but, being true, he sets about trying to right wrongs in his own way and is forced to choose between his pride and his love for his family, ultimately bringing about his sad death.


Through no fault of theirs, Hollowscene’s performance in Milan was disrupted by a change to the published running order and a shortage of time during the soundcheck. I was expecting them to be the second act to play, following Prowlers, allowing them plenty of time to complete the entire Broken Coriolanus suite but they were actually the first band on stage which meant I missed their first track. What I did hear soon dispelled any disappointment because it was first-class symphonic prog that reminded me alternately of Tony Bank’s keyboard work for Genesis and, perhaps because of the double keyboards, occasional jazz phrasing of the guitar and the flute, National Health circa 1978. When they were rather hastily removed from the stage without completing their full scheduled set, presumably to keep the evening running to time, many of the audience were rather disbelieving; I’d just have to wait to get to hear the album.


I picked up a copy of the CD at the gig and the moment you click play it’s obvious that this is a very fine piece of rock progressivo Italiano. First track Welcome to Rome is simultaneously modern-sounding and a classic progressive rock piece. It begins with a fairly brief sinuous synthesizer and guitar line in an uncompromising time signature and gives way to a military rhythm which is very fitting with the theme, just before the vocals begin over harmonic flute lines. You get the immediate impression that it’s an uplifting (welcoming!) song, aided by fluent synth parts, yet there’s a rhythmical complexity underlying the entire piece. All the singing on the album is in well-delivered English. Massimo has a good voice that suits the story-telling requirements of the music; he’s not over-flashy and confines himself to a fairly narrow range, but he sings with a studied confidence. The group have a full, well-balanced sound, both live and on disc, and it’s clear that Genesis, Steve Hackett and Banks in particular, are a major influence.

A Brave Fellow follows in much the same vein; highly melodic, again with the same clean lead guitar which gives way to some excellent synth. A flute passage gives way to emotive piano and vocals, with constantly changing instrumentation and sounds. When the second set of vocals finish, they’re followed by an eerie synth with a staccato rhythm, replaced by organ that harks back to classic 70’s progressivo Italiano; slightly threatening, building gradually towards the denouement.

Traitor is played with a slightly increased tempo. It’s a predominantly vocal piece punctuated by relatively short but tasteful guitar breaks, the second, soaring, more lengthy than the first. That’s not to say there isn’t a great deal going on underneath the singing; there are busy keyboard parts, some strong melodic flute and the contrast of a short burst of more breathy flute.

Slippery Turns is more sedate than the previous track, beginning with more of the emotive piano and vocals before being joined by flute. It departs from the expected with a passage in Japanese from Atsumori, a classical musical drama by Zeami Motokiyo who lived from around the late 14th century to the mid 15th century, narrated by Takehiro Ueki:


Human life lasts only 50 years, Contrast human life with life of Geten, It is but a very dream and illusion. Once they are given life from god, there is no such thing don't perish


Atsumori was a 16 year-old killed in the battle of Ichi-no-Tani in 1184 who is said to have carried a flute into battle, evidence of his peaceful, courtly nature as well as his youthfulness and naïveté. Eliot is believed to have invoked Coriolanus for The Waste Land as an allusion to death in battle.

The tone on the Japanese-spoken section is solemn but gives way to one of Hollowscene’s trademark guitar breaks. Massimo speaks the last section over another staccato rhythm that reminds me of Watcher of the Skies, without the Mellotron, but with some bright synth.

Rage and Sorrow is a mini-epic and, at a little over 13 minutes, the longest track on the CD. The development of the composition takes in the full range of keyboard sounds you’d associate with prog and there’s a really good balance between vocal and instrumental passages. Fogazza takes on shared lead vocal duties at the beginning of the piece, which I thought were reminiscent of Amanda Parsons singing on National Health; a strong, clear, unaffected voice.

A truly dynamic conclusion to the concept, one of the sections that most transports me is an emotive 12 string guitar accompanied by highly melodic flute akin to the classic Genesis sound on Foxtrot or Selling England by the Pound but throughout the track the twin guitars really work well, with nice angular riffs providing a framework for the vocal melody lines.


The Worm commences with an extended passage of gorgeous early Crimson-like flute, floating above picked guitar chords and keyboard washes which I think represents the best of progressive rock. The keyboard line which is introduced prior to the vocals is closer to neo-prog, perhaps reflecting the era in which the song was originally written, demonstrating that Hollowscene aren’t simply attempting to recreate a 70’s vibe but selecting suitable references to make some outstanding modern symphonic prog. The song undergoes a number of tempo changes, injecting a sense of urgency with the use of triplets and even gets quite dark.

Gentle Giant’s The Moon is Down is relatively sparse, containing brief flashes of texture, with phased clarinet, sax and multi-tracked vocals and a relatively urgent instrumental middle section which could be seen as a template for the GG medieval sound; Hollowscene stamp their own form on the song with different instrumentation, beginning the piece with piano and flute but using fuzzed guitar behind the vocals, adding lead synthesizer to their middle section. It’s a nice nod to one of the classic 70s progressive rock bands.



The band have used the same cover image for the Burial EP and Hollowscene, taken by acknowledged master photographer Ernesto Fantozzi in 1961. The photo appears to be a view towards the Via Biscegli in Milan from the west or south west where the frozen ground fits the imagery of Eliot’s opening lines for The Waste Land. This attention to detail reflects the care in which the album has been put together. It’s altogether a really satisfying and very fine piece of work.


Hollowscene by Hollowscene is available on Black Widow Records BWR207









By ProgBlog, May 29 2018 06:10PM

One of my Record Store Day 2018 purchases, that is one of the limited editions specially produced for the occasion rather than one of the albums I happened to buy as I wandered through the stalls set out in Cremona’s Corso Campi on the day itself, was a 40th anniversary edition of UK by UK. My original vinyl pressing of this album is in perfectly good condition and I think it’s a well produced record but I was seduced by the promise of the booklet and intrigued by the idea of an Eddie Jobson re-mastering; I’ve not listened to the original LP for some time so I can’t be certain but I think the individual instruments are more discernible on the new release – it has a nice clarity.



Eight years on from the birth of progressive rock in the form of In the Court of the Crimson King, the genre was getting a little tired and large numbers of the record-buying public were getting tired of prog. Not helped by self-imposed exile from the UK for tax reasons but surely driven by creative burn-out to a great extent, the hiatus between studio albums meant that the three really big players in the field slipped out of the music paper headlines and created a void to be exploited and filled by the standard-bearers for Punk, claiming that the excesses of prog indicated how out-of-touch these bands were.

It wasn’t enough to simply release a ‘best of’ (though Yesterdays, released in 1975 was really my introduction to the first two Yes albums and something I still like.) Following the completion of the British leg of the Relayer tour in May 1975, bar an appearance at the Reading Festival in August that year, there wasn’t another UK appearance by the band until October 1977, though all five members of the group issued a solo album. ELP might be perceived as being the worst offenders, not playing on UK soil for 18 years after their 1st May 1974 show in Liverpool and though they performed in Europe and the USA later in 1974, they were absent from the stage between 21st August 1974 and 24th May 1977 with only a Christmas single (I Believe in Father Christmas, Greg Lake, 1975) and a near-novelty single (Honky Tonk Train Blues, Keith Emerson, 1976) to satisfy their fans. Pink Floyd seemed to have managed fans’ expectations quite well, despite the length of time taken between The Dark Side of the Moon and Wish You Were Here, then Wish You Were Here and Animals and the lack of live dates, especially in the UK. Between 14th December 1974 and the first Wall show in Los Angeles on February 7th 1980, they undertook a three month long North America tour and then played Knebworth in July 1975, toured Animals around Europe including the UK with dates in London and Stafford and North America between January and July 1977. Two of the members also produced solo albums, David Gilmour and Rick Wright’s Wet Dream.


For my part, I was less satisfied with ELP’s Works Volume 1 and Pink Floyd’s Animals than I had been with their preceding records; Yes’ Going for the One was a radical departure from Relayer but I thought it was still high quality, with Awaken high up in the list of all-time great prog tracks. In the case of the former and the latter, I wasn’t over-impressed with the keyboard tones from the Yamaha GX-1 and Polymoog respectively; Animals featured far less keyboards than Wish You Were Here so that I hesitate to call it progressive rock. By 1977, other acts like Camel, Caravan and Gentle Giant had stopped writing epics and both Caravan and Gentle Giant had begun to lose their appeal to core fans; Focus seemed to have disbanded, having released an uneven album of studio scraps the previous year; and Genesis may have released Seconds Out but this coincided with the departure of Steve Hackett. I thought that the future belonged to jazz rock and bought my first Isotope LP.


Looking back, 1978 started on an exceptionally good note with the release of Bill Bruford’s first LP as a band leader Feels Good to Me and the eponymous debut from National Health, both records being examples of jazz sensibilities mixed with prog leanings which resulted in complex, melodious albums. I think Feels Good to Me has a more experimental feel, thanks to Annette Peacock’s vocals and using flugelhorn in a (broadly) rock context; National Health is more intricate and, in the tradition of the band’s forerunner Hatfield and the North, didn’t take itself too seriously.


A good way to start 1978 - National Health
A good way to start 1978 - National Health

Then came UK.

Following the demise of the trio version of King Crimson in 1974 which took Robert Fripp away from music for a couple of years, Bill Bruford and John Wetton continued their musical education by rotating through a number of different bands. I thought Bruford’s involvement with Gong and National Health were interesting and it was definitely quite pleasing to find him sharing a drum stool with Phil Collins for Genesis’ Trick of the Tail tour, as he appeared to be helping out all the right bands. Wetton’s move to Roxy Music and then Uriah Heep impinged less on my consciousness; I was never really interested in post-Siren Roxy and thought Uriah Heep’s music unadventurous. However, his touring arrangement with Roxy started before King Crimson officially ceased to exist . It was meant to be a temporary measure before Crimson was due to recommence touring, and served to introduce him to Eddie Jobson. The proposed 1977 collaboration between Wetton, Bruford and Rick Wakeman could have been amazing but its failure to get off the ground ultimately resulted in the formation of what was hailed as a ‘supergroup’: UK. Their eponymous debut is a slick progressive rock album with jazz rock styling thanks to Bruford and Holdsworth but the modern sound, courtesy of Jobson, made it seem quite different from long-standing progressive acts and newer groups from that time, like symphonic prog band England; the three-part In the Dead of Night is an indisputable prog classic though it’s only now that I’ve got the 40th anniversary edition, complete with lyrics, that I can distinguish the words. The song writing was mature, involving all the group members, leading to a truly coherent effort where equal weight was afforded to each individual and it’s my belief that this equality, the fluid guitar lines from Holdsworth, the power and precision of the rhythm section along with Jobson’s virtuosity on keyboards and violin, adding a contemporary feel but with a past tied to the early progressive era, that made the record stand out as something with significance for the whole genre, like a new In the Court of the Crimson King.




Jethro Tull’s Heavy Horses was also released in April 1978 and I really like this second offering in the prog-folk trio of albums, with an enhanced palette thanks to the guest violin of Darryl Way, though there was a distinct sense of continuity from Songs from the Wood rather than being something that stood out as unique. My copy of the LP, bought in Barrow, was a swap for King Crimson’s Earthbound which I had just bought but thought was disappointing. Thanks to the staff in Blackshaw’s for sanctioning the exchange.

Steve Hackett released his second solo album Please Don’t Touch which was quite different to 1975’s Voyage of the Acolyte, an album I rate higher than any post-Gabriel Genesis. I found it a bit of a mixed bunch and it’s that lack of consistency that marks it down – it’s not really UK progressive rock. Meanwhile, Hackett’s erstwhile bandmates released the decidedly thin end of the wedge ...And then there were Three... I first got a copy of Please Don’t Touch on cassette in 1981 or 1982 so I could also compare it to the excellent Spectral Mornings (1979); And then there were Three was acquired by a friend shortly after its release and I gave it a couple of listens before giving it the thumbs down. The seeds sown by the second-rate Your Own Special Way in 1976 were bearing a bitter fruit – Genesis could no longer be classed as a progressive rock band. Hackett’s other former colleague Peter Gabriel released the second of his self-titled albums which I don’t think can be called prog, either, though that doesn’t mean I didn’t like it. Rather, it was an example of what we might today call post-rock, very much a successor of the first Gabriel solo album. If prog was to wither away, this would provide a reasonable alternative; the highlight has to be Exposure.

Van der Graaf Generator shed an organist, a saxophonist and the ‘Generator’ for 1977’s The Quiet Zone/The Pleasure Dome, becoming more urgent sounding and, despite the excellent lyrics, more basic; it could even have been classed as prog-punk for sheer attitude. Bolstered with an appearance from David Jackson and with Charles Dickie on cello and synth, the group bade farewell (until the 2005 reunion) with a live album Vital. My brother went to see them in Leeds during that tour but it wasn’t until the reformation that I could really appreciate the intensity of the group. When I first saw Hammill performing solo in 1984 it was full-on but in a band context, it was off the scale.

Camel managed to keep one foot firmly in the prog idiom with Echoes and The Sleeper from their ’78 album Breathless but however good the melodies on the other tracks and the bright production, the relative brevity of most tunes makes it seem almost pop-prog descending into funk on Summer Lightning and outright silliness on Down on the Farm. This was another album bought by a friend at the time of its release but I don’t remember listening to it very often; I think we anticipated Peter Bardens’ departure because there appeared to be a tension between chief song-writers Bardens and Latimer, fuelled by an interfering record label, as they moved away from the early, classic Camel sound.

The cracks had not yet appeared in Yes but the cover of Tormato was a hint that all was not well. I bought the album on the day of its release, shortly before heading off to university armed with what I would discover was the best hi-fi in my hall of residence. I also managed to get to see them for the first time that October, in the round at Wembley Arena on the Tormato tour. The album contains some great ideas but the heavy-handed production detracts from the quality of the writing and the lack of a over-arching concept makes it appear devoid of a distinct identity. Taken on its own it doesn’t indicate the end of the golden era of progressive rock but it did suggest that Yes needed to rethink their future plans. The end of progressive rock was most starkly illustrated by Emerson Lake and Palmer with Love Beach. If the image on Tormato was a poor excuse for an album sleeve, the band photo on Love Beach was the antithesis of prog and that, more than anything else, meant I avoided the album until last year, and I only bought it then because it was cheap and I was filling a gap in my record collection. Even taking the best moments of Memoirs of an Officer and a Gentleman into account, it’s a really poor affair, succinctly exposing the true meaning of ‘contractual obligation’.


1978 ended with another National Health album, with a subtly different line-up to the debut but equally as good and, if anything, even more adventurous: Of Queues and Cures. National Health may get lumped in with the rest of prog but though the music conformed to many of the prog traits, the ease with which a substantial number of the musicians fitted into the British jazz and avant-garde scenes made them stand apart. Prog had withered without anyone to grasp the possibilities revealed by UK, whose 1979 follow-up Danger Money was a bit schizophrenic; reduced to a trio the material was a mixture of first-class retro-prog and verse-chorus-verse-chorus FM-friendly tunes played by progressive rock musicians.


The golden era of progressive rock was over.









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