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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, Jul 30 2018 01:52PM

My wife and I habitually visit flea markets and bric-a-brac shops on our tours of London and the south east, where I’m specifically seeking out vinyl bargains. Last week we were prompted to visit a shop closer to home, Atomica, in a business park off Croydon’s Purley Way, thanks to an article posted by Bygone Croydon which indicated along with the retro homeware, fashion and general relics, they had a selection of 50s – 80s vinyl. Despite being more of a showroom for their self-designed gifts which sell all over the world, the records didn’t disappoint because co-owners David and Nicky turned out to be late 60s, early 70s psyche and prog aficionados so after a good browse through a selection weighted towards prog and prog-related (choosing to buy Jethro Tull’s Live – Bursting Out and Tangerine Dream’s Cyclone, both from 1978 and both at a very reasonable price) I had lengthy chat about music with the couple, when I should have been packing my bag for the following day’s short break in Italy.



Displaying an indecision worthy of my notable family trait but in fact attempting to ensure that friends and family were all able to attend one or the other of King Crimson’s Palladium gigs in November before booking the tickets, the London shows sold out before I’d got answers from everyone. Fortunately, tickets were still available for the first 2018 UK performance in Bournemouth, so my friend Jim bagged a couple. A couple of weeks later during a trip to Milan, I saw a rather large advert for the Lucca summer festival pasted on a wall inside Milano Centrale railway station and, after I’d taken in the Roger Waters Us and Them tour date, I noticed King Crimson were due to play the festival on July 25th. On my return to the UK I touted the idea to Jim, who was very much interested, and tickets, flights and accommodation were all booked.



Strangely, my Tuscany guidebook has a slightly larger section on Lucca than on Pisa; the first Tuscan family holiday in 2013 was based in Pisa and we used the train to travel around the region, but never visited Lucca. This was rectified on the subsequent Tuscan holiday in 2014, having been told that the smaller city was probably nicer to visit than Pisa. I do like Pisa, which has two very good record stores, GAP in Via San Martino and La Galleria del Disco in Via San Francesco, and is well connected on the railway network but, apart from the obvious and spectacular Campo dei Miracoli and the museums in the Piazza del Duomo, there’s little else to do. Lucca, on the other hand, is really compact and contains a number of points of interest: Roman remains in the crypt of the church of San Giovanni and the shops and piazza marking the former Roman amphitheatre; the medieval Torre Guinigi crowned with holm-oak and the Torre delle Ore, the tallest of the towers in the city; the details on the west facade of both the Duomo San Martino and San Michele in Foro; Puccini’s birthplace museum; the art deco shop fronts in the Via Fillungo; all enclosed in broad Renaissance city walls. Lucca also has a fine record store, Sky Stone and Songs located on the Piazza Napoleone and which, on the current visit, had a window display replete with King Crimson recordings.


The festival auditorium was set up in Piazza Napoleone, covering a far greater area than I remember from my previous visits. The huge stage was to the west of the square, up against the Palazzo Ducale and, until a few hours before the event started, it was possible to amble in and out of the area. I was picking up the tickets when the soundcheck started at around 5pm and went to join a number of fans at the back of the seating area listen in as the band ran through a couple of numbers; it was obvious that the evening’s performance was going to be special.



Soundcheck
Soundcheck

By the time we went out to eat, the piazza had been emptied and a rather intimidating security cordon comprised of barriers erected in strategic places had been set up to prevent non-ticket holders from wandering in; more reassuringly in the early evening heat and humidity, there were plenty of paramedics around to cope with anyone suffering from dehydration and/or intoxication – it had been suggested that this was the biggest crowd of the European leg of the tour. After a visit to the merchandise stall for a tour programme and 10” limited edition Uncertain Times double EP we made our way to our seats in block I, row 18, where I was a little disappointed that our mid-price range tickets didn’t afford the view of the band I’d been hoping for, although we had a very good view of the giant screen just to the right of the stage.



The performance started on the stroke of 9pm following an announcement in Italian about not recording the event and not taking photographs; this was succeeded by a recording of Robert Fripp emphasising that to ensure we all had a great party we shouldn’t take photos during the concert but, because bassist Tony Levin wanted to take a photo of the crowd when they’d finished playing, we could take photos when Levin took out his camera. He added that at the request of his fellow band members, there would be two halves to the set separated by a 20 minute intermission. Remarkably, following my experiences in Genoa and Brescia for PFM and Le Orme respectively where a sea of 10” tablets and cases obscured my sight line to the bands playing on stage, Fripp’s ‘no photography’ request was heeded by most of the crowd and the use of smartphones and cameras was restrained.

The set list wasn’t too far removed from the last time I saw them, at London’s Hackney Empire in September 2015, though in the intervening period Bill Rieflin had taken a sabbatical and was replaced by Jeremy Stacey on drums and keyboards, then returned in the role of keyboard player, creating an octet. There was a distinct bias towards material written for early incarnations of the group, where the only song missing from In the Court of the Crimson King was I Talk to the Wind and every studio album up to Beat, with the exception of Starless and Bible Black, was represented by at least one track. The most recent studio album music was Level Five/Larks’ Tongues in Aspic part 5 (from 2003’s The Power to Believe) but they played parts of Radical Action (To Unseat the Hold of Monkey Mind) written specifically for the three-drummer line-up, and the three drummers opened each half of the set with a remarkable percussive display, called for that evening A Tapestry of Drumsons and Drumsons of Psychokinesis. I was pleasantly surprised how much keyboard Fripp played, and how easy it was to distinguish the guitar of Fripp and Jakko Jakszyk when it had proved difficult for me to work out which line belonged to which guitarist in every version of the band including Adrian Belew; it was more difficult to work out who was playing which keyboard part when Stacey retreated to the back of his drum kit and the big screen showed Rieflin. The role of each drummer was fairly well delineated, with Pat Mastelotto adding a huge variety of colour with some novel bits of percussion and some non-percussion, much like Bill Bruford following the departure of Jamie Muir in 1973, Stacey’s keyboard responsibilities, and Gavin Harrison acting as the rhythmic anchor, even adding an impressive solo on encore 21st Century Schizoid Man. However, it was when the three operated as a unit that they most impressed, exemplified by their discipline and precision on Indiscipline.


Though Mel Collins had appeared on many of the originals played that evening (Pictures of a City, Cirkus, the Lizard suite, Islands) he didn’t simply stick to the written lines but was given plenty of room to extemporise, blowing jazz and quoting operatic flute. This free rein with well trodden pieces seemed to add to the enjoyment of the ensemble while also allowing the audience to experience the music in new ways; we were even treated to a new set of lyrics on Easy Money.


The performance, including the break, lasted over three hours. Though loud, the sound was really well balanced, making up for the slightly awkward seating position where it was easier but less desirable to watch close-ups on the big screen than get the big picture. I thoroughly enjoyed it, as did the rest of the audience who not only showed their appreciation at the end of each piece of music but responded to mid-song solos and key moments with enthusiastic applause. I was a bit surprised by the clarity of the subtleties and, strangely for a King Crimson gig, did not feel overpowered by the volume. I really hope that there’s going to be a DVD release of the concert at some stage in the near future because along with the quality of the audio, the camerawork for the big screens was also rather good.



Another successful trip to see a band in Italy completed, but I’m now looking forward to seeing Crimson in Bournemouth at the end of October...









By ProgBlog, Jun 11 2018 01:43PM



The resurgence of prog in the 90s was in no small part down to two seminal Swedish bands, Änglagård and Anekdoten. Änglagård’s Hybris (1992) was on my wish list for a couple of years before I managed to get hold of a reissued CD in 2014 for a sensible price from a stall at the Prog Résiste festival in Soignies, when up until that point the CD was selling for in excess of £30 on Amazon, but I first bought Anekdoten’s Vemod (1993) as a download in 2010 having read somewhere that the album sounded like King Crimson would have done had they not ‘ceased to exist’ after Red, due to their use of Mellotron; the album title, which roughly translates to ‘melancholy’, is very fitting. Wheel would have fitted very nicely on Red, especially as it includes cornet played by guest musician Pär Ekström.

I managed to see Änglagård on their first ever UK performance at the Resonance Festival later in 2014, something of a coup for the organisers of the event, and was more than impressed, subsequently being given Epilog (1995) and 2014’s Prog på Svenska - Live in Japan as presents. My wife traditionally asks if there’s any music she can get me on her annual New York trip, so on the occasion a month after buying the download, I asked her to look out for a physical copy of Vemod. Unable to locate a copy in a record store-depleted Manhattan, she phoned me from the States to tell me the bad news but that she had seen Anekdoten‘s 2009 2CD compilation Chapters and asked would I like that instead? I said yes. I then added Nucleus (1995) to my wish list and that arrived as a Christmas present in 2011. I’m attracted to the density and darkness of the music, and fully agree with the imagined post-Red King Crimson theory, so when Massimo Gasperini, the owner of Black Widow Records in Genoa contacted me to say he’d signed up Anekdoten to headline his Prog On evening at the FIM Fiera della Musica in Milan, it proved difficult to resist.




My experience of the FIM Fiera was in 2014, one of three times it was held in Genoa, where the line-up of bands for the prog stage over three days was really stellar, indicating the importance of the city for Italian prog. In 2016 and 2017 the Fiera was held in Erba (near Como) due to redevelopment of Genoa’s exhibition site and landed in Milan, at the Piazza città di Lombardia (the largest covered square in Europe) this year, with Prog On and other more formal presentations held in the adjacent Auditorium Testori.



This being a family trip, I’d identified a couple of other nearby cities to visit, to tick off more medieval squares and interesting churches, but the day of our arrival was dedicated to Milan. We wandered off towards the FIM venue via the Porta Nuova development, just to see what was around, immediately coming across the Black Widow Records stand where Massimo pointed out the one drawback with the piazza – June sunlight streaming in through the glass canopy and no shade. He then gave me a preview of the Auditorium Testori where ex-PFM guitarist Franco Mussida was giving a lecture to local schoolchildren, Cos'è davvero la Musica? (What really is music?); education in all aspects of music was a major part of the theme this year and Mussida, born in Milan in 1947, founded the CPM Music Institute in 1984, an organisation that offers 400 different programmes in music from certified instrumental courses to journalism to studio techniques.




It’s impossible to visit Black Widow Records, wherever it pops up, and not buy anything. I couldn’t say no to an LP I’d been interested in since I’d seen it had been re-issued by BTF earlier this year: a vinyl copy of Concerto delle Mente, the only release by Pholas Dactylus from 1973. I also bought re-issued vinyl copies of Museo Rosenbach’s Zarathustra (1973) and the pre-Goblin Cherry Five (1975) by Cherry Five and picked up the just-released Broken Coriolanus by Hollowscene (formerly Banaau) who were on the Prog On bill.

The day of the gig was mostly spent in Pavia, a short train journey away from Milan though I popped into Libraccio, the book and record store next to our hotel to buy Maxophone’s La Fabbrica delle Nuvole from 2017 and a Record Store Day picture disc of Tormato by Yes. We had lunch in Pavia’s Piazza della Vittoria looking out at the Broletto, the 13th Century town hall, then wandered off in search of Matrix Music only to find it had recently moved, to within 50m of where we’d had lunch, right by the cathedral. They were still unpacking and stacking when we visited and, because it’s getting ever more difficult to find progressivo Italiano that I don’t already own, I only bought a copy of King Crimson’s Live in Vienna CD from earlier this year.


Back in Milan, I set out to the FIM Fiera after a bite to eat and headed for the Black Widow stall, correctly believing that I might be able to find a copy of Vemod on vinyl but also buying the recently-released Rings of Earthly... Live CD by Ancient Veil. I couldn’t find anywhere to buy the album on-line but the band is on the Black Widow label and Black Widow were promoters of the two gigs at Genoa’s La Claque where the performances were recorded; my applause features throughout this release because I was present at both of those concerts.

While hanging around Black Widow I was introduced to another Genovese band, Fungus Family, whose music sits somewhere between the prog and psyche camps and relies on improvisation then, just as we were chatting en route to the beer tent, I bumped into Mauro Serpe and Giorgio Boleto, respectively the vocalist/flautist and bassist from Panther & C. Deep in conversation with Fungus Family about their forthcoming album and an unannounced change in running order meant that I missed some of Hollowscene’s set but what I heard was impressive – some nice Tony Banks-like synth runs and some moments of complexity akin to National Health. Prowlers, hailing from nearby Bergamo, have had a stop-start career and have been releasing music since 1994. Their Prog On performance featured songs from last year’s Navigli Riflessi but, apart from their last song which had sections in 7/4, they didn’t really conform to prog and the performance lacked dynamism. This was disappointing when you consider that in the past they recorded versions of Camel’s First Light and ELP’s The Sage for tribute albums. The contrast with La Fabbrica dell’Assoluto, on next, couldn’t have been greater. Plying their brand of heavy, high energy prog tinged with psychedelia and utilising a vast array of keyboard patches, the passion associated with RPI was forcefully clear; apart from drummer Michele Ricciardi they even dressed up in boiler suits to perform, a humorous reference to the band name. Witnessing them play live made me think of Museo Rosenbach, something I’d not really detected while listening to the record 1984: L’Ultimo uomo d’Europa. I spoke to the band at the end of the evening to congratulate them on an excellent set and, like all the other members of Italy’s prog community I’ve met, they were really easy-going and a pleasure to chat to.



Anekdoten have recently expanded to a five piece with the addition of British guitarist Marty Willson-Piper, best known for his work with Australian band The Church, but who was a guest on Anekdoten’s 2015 album Until All the Ghosts are Gone, and his playing adds even more depth to the sound. Communicating largely in English, the audience was reminded that 2018 was the 25th anniversary of Vemod so we were treated to not just a good proportion of the album, but Anna Sofi Dahlberg also played cello, something they’d not used live for some time. Though there’s a progression from foreboding, brooding dark prog to almost Radiohead-like post-rock through the albums, with each subsequent release involving a subtle change, I still prefer Vemod to the others when many commentators see Nucleus as their definitive release as it includes more mature writing than its predecessor, so I was very happy with the set list. The Rickenbacker bass, seemingly something of a staple in Scandinavian bands, provided by Jan Erik Liljeström along with the drumming of Peter Nordins are equally as important as Nicklas Barker’s angular guitar lines played over Dahlberg’s Mellotron (which was under-mixed for the first couple of songs) in defining the band’s sound. I personally prefer Liljeström’s singing to Barker’s because it complements the plaintive lyrics, much like John Wetton on Fallen Angel. Willson-Piper’s guitar provided extra density (if that’s possible) but he also helped out on percussion duties when his guitar was not required, and generally served as a source of energy propelling the ensemble onwards. My favourite moments were The Old Man and the Sea and Karelia but it was an all-round excellent performance; a major triumph for Massimo Gasperini (who was thanked by the band) and well worth the trip to Milan.



I was also very pleasantly surprised to see prog-fixer Marina Montobbio who had made the trip across from Genoa. Slipping easily between Italian, French and English she was involved in highlighting Plongée au coeur du rock progressif italien by Louis de Ny, a French book about Italian prog, and trying to persuade me to attend the 2 Days of Prog + 1 Festival in Veruno in September.

Fortunately it was only a short walk back to the hotel so I managed to get a decent night’s sleep despite an early start the next day: a trip to Bologna. This was mainly for the architecture because the record stores were all closed, and to see if it was worth a longer visit (it is.) Our flight home on Monday was late in the evening, the last flight out of Malpensa which meant we had time to explore some more. Monza was about the right distance away so we spent a full afternoon there. Though quite pleasant, I wouldn’t have recommended anyone making a special trip there if we hadn’t visited Carillon Dischi. A fifteen minute walk away from the centre under humid June skies, Carillon is another of the brilliant record shops that you find in small Italian cities; walls lined with classic rock and prog posters, plenty of vinyl and CDs including some rarities, a good range of memorabilia, plus a friendly, helpful and knowledgeable owner, Massimo. Browsing was restricted by train times, otherwise I’d have listened to some first US tour live King Crimson, I bought Un Biglietto del Tram by Storm Six (1975), something I’ve been after for a few months and an In the Court of the Crimson King T-shirt. I’d return to Milan any time and Monza really isn't out of the way...









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.









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.

_______________________________


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

_______________________________

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, Sep 4 2017 10:23PM

I’ve just watched the 1987 Arnold Schwarzenegger sci-fi/adventure film The Running Man which, when it begins, is set in 2017, jumping to 2019 after Ben Richards (Schwarzenegger’s character) is framed, and imprisoned for a mass murder of innocent civilians. Based on a Stephen King novel published under the pseudonym of Richard Bachman (with the Bachman borrowed from Canadian rockers Bachman Turner Overdrive) the 2017 of the future hints at the 2017 of today: “By 2017 the world economy has collapsed. Food, natural resources and oil are in short supply. A Police State, divided into paramilitary zones, rules with an iron hand. Television is controlled by the State and a sadistic game show called ‘The Running Man’ has become the most popular program in history. All art, music and communications are censored. No dissent is tolerated and yet a small resistance movement has managed to survive underground” but it’s the plot relating to editing video footage, the use of ‘fake news’ to manipulate the masses, along with the quest for ratings, which most resemble our present. It’s quite incredible that two actors from the film, Schwarzenegger himself and professional wrestler Jesse Ventura (who plays Captain Freedom) would make the shift from entertainer to politician: Schwarzenegger was the Republican governor of California for two terms from 2003 and Ventura was the Reform Party candidate and elected governor of Minnesota in 1999, deciding not to stand for re-election in 2003; current POTUS Donald Trump has no previous political experience but he has featured in the reality TV business.

The Running Man also serves as a vehicle for the acting talents (!) of Mick Fleetwood (Fleetwood Mac) and Dweezil Zappa, who happens to be playing 50 Years of Frank in the UK over the next month. Stephen King’s novel was written three years before Margaret Atwood’s The Handmaid’s Tale and the two books share that near-future (our present) dystopian world-view.



The Running Man and Mick Fleetwood and Dweezil Zappa
The Running Man and Mick Fleetwood and Dweezil Zappa

We live in worrying times. The very recent planned detonation of a hydrogen bomb, ten times more powerful than the previous device tested and allegedly capable of deployment by one of their ICBMs which have also been tested with alarming frequency in recent weeks in response to joint military manoeuvres by the South Koreans and the US, represents a disturbing testosterone-fuelled escalation towards a potential devastating conflict between the Democratic People’s Republic of Korea and almost all of the rest of the world. Whereas I personally wasn’t worried by the Cold War stand-off between the US and its allies and the Communist Bloc, even though my youth was spent living in a potential target for Soviet missiles and I moved to London, an obvious target, just before the Thatcher-Reagan years; a period when bullish rhetoric was backed by American-controlled cruise missiles sited on UK soil and of Reagan’s proposed Strategic Defense [sic] Initiative. However, the behaviour of Trump on the one hand and Kim Jong-un on the other, two megalomaniacs who simply refuse to back down, is an increasing cause for concern.

According to the Bulletin of the Atomic Scientists, the Doomsday Clock is currently set at two and a half minutes to midnight, indicating that the probability of global catastrophe is very high, the highest it has been since 1953 when the US decided to pursue the development of the Hydrogen bomb. Throughout 2016 and 2015, the clock stood at three minutes to the hour, the closest to midnight since the early 1980s; this year the danger is even greater. My lack of concern during the 80s was partly due to my belief that the USSR economy, ploughing ever more resources into the military-industrial complex and away from the staples needed by the ordinary people was unsustainable, though there was always the possibility of initiating a strike by accident. I attended CND rallies and laughed at the ridiculous Civil Defence plans for a nuclear attack on the UK, its forced public dissemination five months after it had been ‘officially’ released in January 1980 following an investigation by the (pre-Murdoch) Times newspaper. In March 1984 David Gilmour released his second solo album About Face which included the jaunty and ironic Cruise, featuring innumerable puns about atomic warfare and fading out with a cod reggae groove. My current anxiety is fuelled by the actions of a paranoid dictator in North Korea who ignores the basic rights and requirements of his people and a clueless, populist, not-particularly-successful-businessman-turned-TV-personality who wouldn’t know diplomacy if he had to shake it by the hand.



Dave Gilmour, Hammersmith Odeon 30.04.84
Dave Gilmour, Hammersmith Odeon 30.04.84

If there is going to be a future despite Trump’s best endeavours to scupper it through either total war or climate change denial, what is prog going to look like? In 2017 we have the benefit of being able to look back at almost 50 years of prog, but is reflecting on the changes in both the music itself and the industry since Sgt Pepper’s, The Piper at the Gates of Dawn and Days of Future Passed any help in imagining future-prog?

I propose that we define prog rock along temporal lines to provide an indication of general stylistic attributes. If we restrict the term ‘progressive rock’ to music produced between 1969 (the year of In the Court of the Crimson King) and 1978, which equates to the so-called ‘golden era’, there were a couple of years beforehand where blues-based rock and psychedelia began to push at the boundaries of conventional popular music which we could call proto-progressive, append neo-prog (early-mid 80s) which combined progressive rock traits with an almost punk attitude, and further append the early 90s prog revival which has gone from strength to strength and flourishes today; to avoid any arguments over semantics and how ‘progressive’ implies continuous development, these four ages, plus future-prog should be scrutinised under the overarching umbrella of ‘prog’.


It’s quite remarkable that prog should be as strong as it currently appears. If the original proto-prog and progressive rock success was down to the baby boomer generation, it’s not unreasonable to suggest that our children are maintaining the continued interest. However, this is not necessarily always the case. My son may recognise classic progressive rock and buy me prog but I couldn’t get him to learn an instrument or get serious about the genre! At least part of the driver for prog was a series of technological advances from the 60s onwards and innovators like Robert Moog who took these ideas and turned them to practical, musical uses, though there have been some duds. I’ve never been happy with the sound of the string synthesizer, seen as a reliable alternative to the unwieldy Mellotron, but which had an equally short life cycle. The Elka Rhapsody was produced in Italy between 1975 and 1980 and became something of a favourite, despite what I’d describe as a thin sound; even my band used one in 1979-80, before our keyboard player John Carrott bought himself a Juno 6 and the band dissolved. Perhaps the biggest offender was the Solina String Ensemble before the Prophet 5 and Yamaha DX7 polyphonic synthesizers came along to make the string synth redundant. Fortunately, after a number of hiccoughs Mellotron are going strong and it’s virtually impossible to go to a prog gig in Italy without seeing a Mellotron on stage. However, there are two mellotron companies: Mellotron run by Markus Resch in Sweden who own the brand name and produce the Mk 6 and digital M4000D model, and Streetly Electronics, the original UK manufacturers of the Mellotron who produce the M4000. The accurate digital reproduction of 70s analogue sounds is a feature of much of the current keyboard-based prog and while appearing retrograde, it’s the culmination of technological advancement to achieve the widest range of sounds without compromising portability. This refinement is hardly a major leap forwards compared to the pace of change within the recording side of the business. Digital recording and file sharing have facilitated a near revolution in record production, so that The Invention of Knowledge (2016) was made over a two-year period without Jon Anderson and Roine Stolt meeting up, apart from for a Los Angeles photo shoot; Anderson sent his vocals from the US to Stolt in Sweden, where the instruments were recorded with other musicians.


Anderson-Stolt - The Invention of Knowledge (2016)
Anderson-Stolt - The Invention of Knowledge (2016)

This lack of a geographical centre of the movement is associated with the prog revival and it’s a very good thing. Progressive rock wouldn’t have emerged without the political and social changes experienced by the UK in the 60s, quickly exported to our continental European neighbours who had both similar and their own unique conditions for developing the genre. Some of the original proto-prog and progressive rock philosophy remains and has been applied to some of the woes of the modern world: Steven Wilson’s latest release To the Bone (2017) covers topics like the divisiveness of President Trump and his notion that truth isn’t always the truth, the everyday lives of refugees, terrorists and religious fundamentalists; Roger Waters also wades into current affairs and Trump on Is This the Life We Really Want? in a continuation of a thread running from Animals (1977).


Roger Waters - Is this the life we really want (2017)
Roger Waters - Is this the life we really want (2017)

But what of the future? Is the recycling of classic progressive rock sounds and the return of vinyl a step into tomorrow? Is the cause helped by the remnants of original acts touring their old material? I suspect that the genre is time-limited and we’re currently approaching the twilight of a second ‘golden age’ though through recorded media it has the chance to live on.

There’s nothing wrong with playing the greatest hits from your back catalogue because that’s what bands of all eras and all genres have done; if the creative spark has gone then continue to please audiences with old favourites and let newcomers, the next generation of prog rockers, reinterpret the idiom in whatever way they can. Prog has used a myriad of diverse influences to create wonderful, amazing, challenging music and whether good or bad, there will be plenty of unimagined future legends to inspire the prog musician.



Photograph: Scott Olson/Getty Images
Photograph: Scott Olson/Getty Images








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