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The four-day record buying and gig spree continues, with a bit of architecture and design thrown in. 

The highlight was going to see Camel on tour playing Moonmadness in its entirety for the first time since its release in 1976...  

By ProgBlog, Mar 12 2018 10:28PM

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

These are their 9 albums:



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

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Days of Future Passed

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

Argus

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

Music Inspired by The Snow Goose

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

Tubular Bells

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

Nursery Cryme

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

Tales from Topographic Oceans

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

Brain Salad Surgery

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

Meddle

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

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

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

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

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Pink Floyd – The Dark Side of the Moon

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

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

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

Martin Stephenson & The Daintees – Gladsome Humour & Blue

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

Johnny Cash – American III Solitary Man

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

Various Artists – The Best of Blue Note Vol.1

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

Genesis – Live

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

Gil Scott-Heron – The Revolution Will Not Be Televised

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

Various Artists – First Time I Met The Blues

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

Various Artists – Blue Brazil

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

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

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A Nice Pair – Pink Floyd.

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

Evening Star – Fripp & Eno.

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

Tubular Bells – Mike Oldfield.

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

Journey to the Centre of the Earth – Rick Wakeman

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

Close to the Edge – Yes

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

The Dark Side of the Moon – Pink Floyd

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

Phaedra – Tangerine Dream

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

Oxygene – Jean Michel Jarre

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

Deadwing – Porcupine Tree

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

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Yes - Close to the Edge

Yes - Relayer

King Crimson - Larks' Tongues in Aspic

King Crimson - Starless and Bible Black

ELP - Trilogy

Miles Davis - Kind of Blue

Miles Davis - Star People

Camel - Music Inspired by The Snow Goose

Focus - Best of Focus

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

1) Close to the Edge

2) Larks' Tongues in Aspic

3) Fragile

4) Tales from Topographic Oceans

5) Starless and Bible Black

6) Nice

7) The Dark Side of the Moon

8) Pictures at an Exhibition

9) The Lamb Lies Down on Broadway

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


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

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


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










By ProgBlog, Feb 26 2018 09:12PM

A new, one-off live Old Grey Whistle Test appeared on our TVs at the end of last week and though largely unremarkable from a prog point of view, one of the sofa guests was Ian Anderson. The Jethro Tull front man had also recently appeared on BBC Four’s Hits, Hype & Hustle series of films, offering some insightful recollections on the music business, and now he’s appearing on the front cover of the current Prog magazine (Prog 85), with a fairly large proportion of the publication talking about Tull’s 50th anniversary and the 40th anniversary edition of Heavy Horses, due out in a few days’ time.


Ian Anderson, Prog 85
Ian Anderson, Prog 85

The vast bulk of the article below was published in June 2014 but it’s been updated and edited to reflect the ProgBlog experience during the intervening (almost) four years:


For someone who was into prog in 1972, my appreciation of the music of Jethro Tull came fairly late, even though my father used to whistle Living in the Past, which had been covered in 1971 by Canadian trumpeter Maynard Ferguson. From someone who would not infrequently refer to prog as ‘racket’, this was something of a revelation. He’d also whistle Light My Fire after José Feliciano's cover version won a Grammy in 1969.

Tull were originally a blues band but the proto-prog of Stand Up (1969) hinted at the direction they were about to embark upon. I think that this album, more than any other of the Tull canon, was responsible for influencing Italian prog bands. Though it represents the first of their albums that I like, the period between 1969 and 1982 is littered with hits and misses. Bill Burford was the first of my friends to buy any Tull albums, and he bought into them in a fairly big way. I appreciated the more lofty concepts, tongue-in-cheek or otherwise: Thick as a Brick (1972), A Passion Play (1973), Minstrel in the Gallery (1975) and from there got into the prog-folk trio of albums beginning with Songs from the Wood (1977). The first Tull album I bought was Heavy Horses, shortly after it came out in 1978. I’d actually gone into local store Blackshaw’s and bought a copy of King Crimson’s Earthbound but, finding the raw and bluesy 1972 version of Crimson just a little too raw and bluesy, I took it back and swapped it for the Tull; as a mooching teenager I wrote naff poetry and, along with the rocking title track and No Lullaby, I kind of liked the sentiment of Rover.


Stand Up (1969)
Stand Up (1969)

I’m not particularly a fan of Aqualung (1971) which may have been the first of their albums I heard, played at my friend Bill’s house. He also owned the compilation Living in the Past (1972) but I found most of the music uninspiring. I wasn’t the only one of my coterie to lack an appreciation of the full Tull catalogue and according to the music industry, I was partly responsible for killing music as I recorded tapes for my brother Tony to listen to while he was away at university. The following is an extract from a letter he wrote to me in September 1979:


There now follows a critique of “Thick as a Brick” which is based on numerous listenings and the rigid thought process of a closed mind. Show it to Bill as well. I don’t expect either of you to agree, as will become obvious!

In my opinion Tull have not progressed very far beyond this album with their later works (“Vocal recitals from the lignified angiosperm” and “Equine mammals of large mass” being the ones I have heard.) However, I shall not pursue that argument here, but may be induced to do so at a later date.

The vocals are a very important feature of this album and I suspect that they are present on about half the playing time. Unfortunately, I find them rather irritating. “Feeheeheeheeheeheeheels” or a similar variant ending many of the lines is not very imaginative and indeed becomes tedious quite rapidly. Mr Anderson’s aquistic [sic] guitar is undeniably jinky-jink, although his lack of inspiration here is redeemed to a certain extent by some excellent flute. The other musicians in the band are not really given many opportunities to demonstrate great virtuosity, because it is not that sort of an album. They are obviously competent, however. The drummer does get a solo – but then I’m not very enthusiastic about drum solos and anyway Bill would deny me the right to comment on his technique.

I feel that the strength of the composition throughout the album can be questioned. Much of the album consists of a few basic melodies, which are developed to a limited extent but not enough to maintain my interest. Other passages rely on rhythmic, almost mono-aural / monotonous (one sound!) thumps.

Both sides are a little disjointed, the second side possibly more than the first e.g. the progression on the second side through free-form jazziness, a quasi-choral passage, and classical guitar, direction eventually being established with a repetitive guitar riff and organ and vocal accompaniment. This leads on to the best part of the album – undiluted technorock, including a few unexpected bars of orchestral style – and played on strings – just before the end.

** (2 stars) Mike the Mod, NME

Mike says he doesn’t know whether or not to recommend his readers to “No Pussyfooting” instead. After all, it is much cheaper


I have to admit that Tony had a valid point about the ‘jinky–jink’ guitar, something we looked on with derision, and the "Feeheeheeheeheeheeheels” but, noting his use of the term ‘technorock’, a word we used to describe keyboard-led music before we actually heard the term ‘prog’, I think the use of organ makes the album. Tony also didn’t have the advantage of sitting with the St Cleve Chronicle in front of him, something that makes the album a genuine immersive experience. The subsequent A Passion Play was quite difficult going but worth the effort. Perhaps my favourite Tull album is the relatively unsung Minstrel in the Gallery. The title track has all the hallmark qualities of a prog anthem and the Ian Anderson-dominated acoustic tracks feel somewhat more mature than previous material, possibly because of its reflective nature; on a recent play of the album I was reminded of how good David Palmer was at string arrangements. Baker Street Muse is an almost side-long epic with its four subsections, and harkens back to both Thick as a Brick and A Passion Play territory. Spoken sections at the beginning and end of the album show that the band has not lost its sense of humour.


The folk-laden sounds of Songs from the Wood, Heavy Horses and Stormwatch include a more divergent keyboard set-up, as David Palmer joins the band as a second keyboard player but it’s the bouncy, up-front bass of John Glascock that is most different from preceding Tull (I don’t think he was really allowed to shine on Too Old to Rock ‘n’ Roll.) The pre-Christian references and ecological concerns of Songs from the Wood give way to political matters on Stormwatch (North Sea Oil, Dark Ages) and these in turn give way to more mundane matters such as 4WD on A (1980) as the band moved further away from prog along with prevailing musical tastes. Originally intended as an Ian Anderson solo album, hence the title, the line-up for A was a very different Jethro Tull which, with the recruitment of Eddie Jobson who had been supporting Tull on tour with UK, failed to deliver anything like the music which made up the back catalogue. 1982’s Broadsword and the Beast was a partial move back towards the late 70s prog-folk but the Anderson solo album Walk into Light (1983) and Tull’s Under Wraps (1984) embraced a much more contemporary sound that felt more akin to pop than prog. I saw Tull at the Royal Albert Hall during the A tour and again at the Hammersmith Odeon for Under Wraps and was disappointed with both performances; the last album from that period remaining in my collection is Broadsword, having given Under Wraps to my brother as my main medium switched from vinyl to CD.


I neglected all new releases for many years, though I continued to play the records I did own and supplement my collection with CDs of early material I didn’t possess, but my interest in TAAB2, released as an Anderson solo album forty years after Thick as a Brick, kindled by articles in Prog magazine, was realised in 2014 when I bought a second-hand deluxe edition CD from Si’s Sounds in Lewes. I’m not sure about some of the lyrics but the music was good and the concept of ‘whatever happened to Gerald Bostock?’ was quite entertaining. I file my CD of TAAB2 under 'J' for Jethro Tull rather than 'A' for Ian Anderson. The appearance of Anderson, playing a ‘best of Jethro Tull’ set at HRH Prog 4 in 2016 was one of the main attractions of the event and didn’t disappoint. His vocals may not be as strong as they once were but his flute, the other musicians and the set list were all excellent.



His recent TV appearances seem to have conferred something of an elderly statesman persona, though the Jethro Tull brand still persists with a UK tour commencing in April. During their 50 years, Anderson has always had the ability to express everyday things in a poetic way, whether it’s the ‘battlefield allotments’ next to railway lines or ‘newspaper warriors changing the names they advertise from the station stand’ and there are a number of themes that run throughout his work (he does seem to have a thing about trains.) However, it’s not only his lyrics that stand out for me. Perhaps out of all the prog bands that use flute, and there are a fair number from Moody Blues to early Crimson to Gabriel-era Genesis to Focus to Camel to Van der Graaf Generator and countless Italian bands, the first group you associate with flute is Jethro Tull.








By ProgBlog, Jun 5 2016 09:39PM

It wasn’t until I began to examine the causes of the demise of the first wave of progressive rock, in association with reading the essays written by Robert Fripp and printed in the sleeve notes of DGM releases at the commencement of the third wave of prog, that I really paid any attention to the record label. Part of this was due to the relatively wide range of record companies that oversaw the releases by the relatively narrow range of bands that I listened to and certainly during the early 70s it seemed that record companies, riding the lucrative wave of the 33rpm vinyl album, were content to let their charges do almost whatever they wanted as long as the coffers continued to be filled and furthermore, taking on a new act that wasn’t quite so successful wasn’t so much of a risk when there were some big acts in the stable who were guaranteed to produce hit albums.

At the time I think I was more interested in the graphic used to represent the record label, proudly applied to the centre of the disc that might give some more information about the music; the green, red/orange and white of Atlantic on my Yes albums that gave way to Roger Dean’s cover artwork on Tales from Topographic Oceans (1973) and Relayer (1974); the green lava-lamp blob, another Roger Dean design, representing the EMI progressive subsidiary Harvest on my copies of Pink Floyd’s Atom Heart Mother (1970), Meddle (1971), A Nice Pair (1974) and Triumvirat’s Spartacus (1975), though the Floyd’s association with Hipgnosis and their approach to design resulted in Dark Side of the Moon (1973) boasting the iconic (triangle) prism; Wish You Were Here (1975) has a George Hardie robotic handshake and Animals (1977) has a fish eye lens dog on side one and sheep on side two. Roger Dean was evidently in demand by the progressive record labels because he also designed the replacement for the Vertigo swirl, with the UFO-like spacecraft and illustrated the first Virgin Records label, originally in black and white, and the closely related image, without the lizard, for the budget Virgin stable mate Caroline. My only copies Vertigo albums on vinyl are Octopus (1972) by Gentle Giant and the eponymous debut by Trace (1974), both of which feature the spaceships and all my albums on Virgin had a coloured logo which, by the time of Ommadawn (1975) had shed the lizard and was simply a stylised photo of the mirror girl.


I quite quickly recognised that there was one record company that appeared to have a monopoly on jazz-rock fusion, with CBS being home to The Mahavishnu Orchestra, Weather Report and Return to Forever but it wasn’t until I discovered the link back to Miles Davis that I understood why. When I picked up Neil Ardley’s Kaleidoscope of Rainbows (from 1976) on tape in the early 80s I wondered if there was a jazz rock thing going on with Gull Records because Isotope were also on Gull; I had all three of the Isotope studio releases but never realised that it was a label associated with Morgan studios because Isotope (1974), Illusion (1974) and Deep End (1975) were recorded at Advision, Rockfield and Trident respectively.


The only label that came anywhere close to indicating that their bands were all worth listening to was Charisma. After the demise of Andrew Loog Oldham’s Immediate label in 1970, The Nice released Five Bridges (1970) and the posthumous Elegy (1971) on Charisma. My second hand copy of Elegy has the original ‘scroll’ logo and my Five Bridges, bought new, has a bold block Charisma on a blue background surmounted by a small Mad Hatter. Almost everything else I have on the label on vinyl features the John Tenniel Hatter: Genesis, Van der Graaf Generator and Peter Hammill solo material, Refugee, Bo Hansson, Steve Hackett, Brand X; even my re-released English version of Le Orme’s Felona and Sorona, distributed by BTF in Italy, has the famous Mad Hatter image. The exceptions include Peter Gabriel Plays Live (1983) where there’s a small cover photo image of Gabriel in black and white, and sides two and four of The Lamb Lies Down on Broadway (1974) which feature the shattering glass photos from the Hipgnosis cover without any text. The Charisma roster was hand-picked by founder Tony Stratton-Smith and, without the corporate restrictions of the majors, featured a good range of like-minded artists; not that I was ever tempted to buy anything by Clifford T Ward. Almost all the major labels all had an imprint that championed alternative or progressive rock. EMI had Harvest; Philips/Phonogram had Vertigo; Decca had Deram (with Camel, Caravan and the Moody Blues on their books until the Moodies set up their own label and shops, Threshold); Pye had Dawn, home to Northern Ireland’s only progressive rock band Fruupp. RCA also had a short-lived specialist label, Neon, only ever releasing 11 albums, all in 1971 but which included the only, self-titled album by Tonton Macoute (very much on the jazzier side of prog), the Mellotron-heavy self-titled album by Spring and the proto-prog of Indian Summer with their eponymous album.



One of the first labels I came across was Manticore, set up by Emerson, Lake and Palmer in 1973 which wasn’t too long after I first started to listen to prog, conceived as a vehicle for not just their own music but also for acts that interested the trio but which were finding it difficult to get music released. Manticore brought Italian prog giants Premiata Forneria Marconi (PFM) and Banco to UK and US consciousness and followed in the footsteps of the Moody Blues and Threshold Records, a sub-division of their old label Decca, formed in 1969 following the release of On the Threshold of a Dream. Manticore, named after the chimeric creature that appears on the sleeve of Tarkus pre-dated Led Zeppelin’s Swan Song Records by a year.


Gentle Giant switched record companies from Vertigo to the Black Sabbath label World Wide Artists before the release of In a Glass House but WWA folded following financial difficulties some time after the release of The Power and the Glory in 1974 and their next effort, Free Hand (1975) was released on Chrysalis. This deal came about after Gentle Giant toured in the US supporting Jethro Tull, Tull having been the reason for the formation of the label by Chris Wright and Terry Ellis when they couldn’t get a record deal in the late 60s. Another label independent of the majors, apart from overseas distribution deals, Chrysalis may have been a pun based on the founders’ names but the imagery, the stage prior to a butterfly emerging from its cocoon, captured the zeitgeist. Procol Harum were another prog band that released records on Chrysalis.


King Crimson were signed to EG music but their 60s and 70s material was released via distributors (independent) Island Records and Polydor, a UK subsidiary of Germany’s Polyphon-Musikwerke that was founded in 1913. The 80s incarnation of Crimson released three albums on EG and there were a number of other releases, called Editions EG, including albums by Robert Fripp’s League of Gentlemen, Penguin Cafe Orchestra, Brian Eno and Quiet Sun. EG ended up being distributed by Virgin who were then sold to EMI but in the mean time Fripp, who had been in a long-term dispute with EG, formed Discipline Global Mobile to release King Crimson and related material. From the outset DGM set out to provide an alternative business model to the majors which Fripp described as unethical and founded on exploitation. The main principle of DGM was to allow the artists to retain copyright of their material which meant that none of the DGM artists would have to go through the same process that Fripp had done with EG.


It would appear that the industry has changed. There may be only three majors now, after takeovers and mergers and there still might be multi-million dollar contracts, but the progressive rock community has witnessed to some innovative ways to release records, from the crowd-funded financing of Marillion to the founding of a progressive rock-specific label, Kscope, with the stated aim to be artistically focused and sympathetic to adventurous and explorative music. I always thought it was worth reading the label...







By ProgBlog, Feb 14 2016 08:04PM

It was Peter Gabriel’s 66th birthday yesterday and the twittersphere was replete with felicitations. Gabriel’s part in the pantheon of progressive rock is firmly cemented: lead vocalist with early Genesis; world music luminary; sonic innovator. I’d like to add that I believe his anti-apartheid stance and his concern for our treatment of the planet are also very prog; promoting environmental issues and equality are key progressive traits, born of late-60s idealism.


There are many more differences between the music on his first solo album Peter Gabriel (1977) and his collaborative previous release, The Lamb Lies Down on Broadway (1974) than there were between Trespass (1970) and The Lamb. Early Genesis followed a distinct trajectory from compositions that featured 12 string guitar and piano or organ in equal measure overlain by lyrics that were seeped in mythology and allegory, where Gabriel often comes across as vulnerable and tentative. On The Lamb, Gabriel oozes confidence, perhaps aided by the adoption of the Rael persona and the music is heavier, more muscular, involving more riffs than before even though it’s still very melodic. Banks’ use of synthesizer, absent on Foxtrot (1972) and debuting on Selling England by the Pound (1973) is predominantly used for angular runs (such as on In the Cage and Back in NYC.) On reflection, I suggest it’s primarily the synthesizer that’s responsible for the majority of motifs that I’ve detected forming a sonic bridge between Selling England and The Lamb.

The Lamb may be made up of short pieces but it does have an overriding linear narrative that puts it in the long-form category, Supper’s Ready was originally a series of musical ideas that were fitted together to make one piece, similar to Van der Graaf Generator’s A Plague of Lighthouse Keepers (from Pawn Hearts, 1971) where sections are discrete but seamlessly segue into each other; as a distinct modern musical trope this idea was adopted by The Beatles for Sgt. Pepper’s Lonely Hearts Club Band (1967), an idea that was mimicked by any number of proto-progressive acts and one that could be used to define the genre in its infancy. I believe that the Moody Blues’ Days of Future Passed (1967), not fully formed prog by any means, is another good example of a well-defined full album-length concept comprised of disparate songs and this, rather than a nebulous concept like Dark Side of the Moon (1973) or the philosophical musings of Jon Anderson and Steve Howe on Tales from Topographic Oceans (1973), has more parallels with Rael’s journey of self-discovery.

The shorter songs on Peter Gabriel are not conceptually linked but all display thoughtfulness in their composition. This may have been Gabriel’s return to ‘the machinery’ after a hiatus but it was on his terms, informed in part by the years he’d spent in Genesis but reflecting other influences. I don’t think it conforms to the original definition of prog but it is undoubtedly progressive. It’s probably art-rock, with more immediacy and a more contemporary feel. It’s as though Rael showed Gabriel what he was able to become and I think the first solo effort has a New York vibe to it, even though it was recorded in Toronto and London! One similarity between The Lamb and Peter Gabriel is the humour in the rhyme, the use of couplets, half rhymes and rhymes within a single line (the rhyme is planned, dummies) evident, for instance on Moribund the Burgermeister “Bunderschaft, you going daft? Better seal off the castle grounds...” or Humdrum “I ride tandem with a random/Things don’t work out the way I planned them.” However, there’s a less obvious break with prog on Peter Gabriel that hits you the moment you take the album out from wherever you’ve stored it: the cover photo of Gabriel in the passenger seat of Storm Thorgerson’s Lancia Flavia.

It’s probably incidental but the album contains a couple of automobile references, in Excuse Me where Gabriel muses “who needs a Cadillac anyway” and a more technical, almost Ballardian reference to a “red hot magneto” on Modern Love. Despite Nick Mason’s association with motor racing and Rick Wakeman’s collection of cars in the mid 70s, cars don’t often make an appearance in prog rock songs. Is this surprising? Rock ‘n’ roll and the associated ‘live fast, die young’ ethos seem inextricably linked with motor cars and there have been hundreds of songs written about driving and automobiles. This is hardly astonishing as the development of the two aspects of (American) youth culture, music and driving, were contemporaneous; the end of post-war austerity and the invention of the American Dream issuing in a world of leisure and consumerism. Singing about driving could be rebellious but whatever the message, songs about cars pervade much of rock music from Chuck Berry’s No Particular Place to Go (1964) and The Beatles Drive My Car (1965) to Bruce Springsteen’s Born to Run album (1975) and there’s a strong association, at least amongst British TV viewers, of Fleetwood Mac’s The Chain (1977) and F1 racing. The movie Grease with its cod 50s rock ‘n’ roll appeared in 1978 and has become the most popular musical film of all time. There even seems to be a morbid glamour that has attached itself to automobile accidents, brilliantly explored in JG Ballard’s collection of related stories The Atrocity Exhibition (1970) and full length novel Crash (1973), epitomised by the death of James Dean in his Porsche 550 Spyder in 1955, the crash that killed Diana, Princess of Wales in Paris in 1997 and even the assassination of JFK in his open topped limousine in 1963 (partly the subject of Gabriel’s Family Snapshot (on Peter Gabriel III, Melt, 1980.)

The lyrics of Adrian Belew on Beat (1982) and Three of a Perfect Pair (1984), the second and third releases by the 1981 – 1984 incarnation of King Crimson are something of an exception when it comes to prog and cars. Beat was inspired by Jack Kerouac so road trip references abound in Neal and Jack and Me: “I’m wheels, I am moving wheels/I am a 1952 Studebaker coupe... ...I am a 1952 Starlite coupe”. Crimson journeyed into experimental industrial music on the second side (aka the Right side) of Three of a Perfect Pair, starting with homage to the scrapped car, Dig Me which calls to mind Christine (1983) the Bill Phillips film adaptation of Stephen King’s horror novel and hints at Ballardian prose. I don’t suppose any of us should be shocked that tyre manufacturer Dunlop used a portion of 21st Century Schizoid Man for adverts in 1996...



A cosmic take on the idea of cruising along was released as a single and appeared on Rain Dances (1977) by Camel in the form of Highways of the Sun. It doesn’t matter if they’re in an old sedan that’s lost a wheel or a ship that’s got no sails, this is hardly the same vision as that visualised by heavy rockers Deep Purple, on Highway Star (from Machine Head, 1972) with its imagery of sexualised power. Hard rock seemed to go for this form of association, the video of ‘fast’ women, hot cars and hard guitars, apparently reinventing scenes of bikini-clad women draped over cars at a motor show for the MTV age... and critics called prog musicians dinosaurs! Even Roger Waters got in on the act with the cover artwork for The Pros and cons of Hitch Hiking (1984.)



One oddity is White Car from Drama (1980) by Yes. Lasting only 1’20” this song was allegedly brought to the band by newcomers Trevor Horn and Geoff Downes. It’s likely to be seen as throw-away because of its brevity but in that time it opens out to reveal a cinematic scope, with nice keyboard orchestration and poignant percussion. I don’t know what the lyrics allude to but I think of a classic Rolls Royce on a road atop of Yorkshire or perhaps Devonshire moors. It’s dramatic, and maybe that’s where the album title comes from; it’s certainly not car as analogy for sex object!

By ProgBlog, Nov 1 2015 10:16PM

I went to a The Guardian Masterclass event a couple of weeks ago, How to self release your own music, hosted by Ian Ramage and Ann Harrison, to get some information and inspiration for putting out my own CDs. These events, mostly held in The Guardian offices in Kings Place, part of the regenerated King’s Cross area, are well organised and well attended by individuals with a range of interests relating to the topic, and sensibly priced. The first Masterclass I attended, in an attempt to broaden the reach of this blog, was How to write a successful blog. There were 100 delegates with a spectrum of abilities from those with little understanding of blogging to those who were interested in more efficiently monetising their efforts, with me somewhere in the middle; I learned enough to start a Twitter account and since then ProgBlog appears to have gone from strength to strength. Though not as popular, the audience for How to self release your own music was comprised mostly of musicians but there was at least one person who ran a recording studio; the presenters seemed a little surprised that there was no one from the music industry. Apart from being a music fan, Ramage’s encyclopaedic knowledge of music had been built up from rising through the ranks and working at a number of companies including Polydor, Warners, EMI, and Sony. Harrison was there to cover the legal aspects; a qualified lawyer, she has worked with household names and has her own legal consultancy, Harrisons Entertainment Law Limited and is the author of Music, The Business (Virgin Books) that was plugged on a number of occasions. The two speakers had a good rapport and overall, I was very pleased I’d attended. After discussing performing rights it became very clear why the Yes Union tour was such a nightmare for the musicians – I recall it wasn’t too bad for those of us the audience and I enjoyed most of the music played by the two versions of Yes although some band politics were still evident.

Another topic that was touched upon was the role of the producer who could be someone who booked the studio or had some degree of creative input. This came to mind when my last Walkman ceased to function, playing Tormato. Wakeman’s keyboards have no substance, lacking both bass and sparkle and White’s snare drum tone has no snap, as though the final production stages were rushed or the band was not given any control over the final sound, even though Yes are credited as producers – Brian Lane has a credit for ‘executive producer’ and I find it hard to believe, after the excellent sound and mix on their previous albums, that they can have been happy with the dull, compressed finished product. The sleeve design by Hipgnosis was certainly contentious; originally intended to be called Yes Tor, fitting in with some of the material on the record, the title was changed following dissatisfaction with the artwork which prompted someone, either Wakeman or Aubrey Powell, to throw a tomato at the cover. Steve Howe, who came up with the Yes Tor idea has been described as unhappy by this turn of events and I side with him. There’s something cosmic about divining (even though I think it’s nonsense) and Yes ideas were indisputably cosmic; linking the second highest point in Devon to a possible beacon for UFOs seemed a reasonable concept (even if it too was unscientific and beyond reason), not fully realised. My least favourite track is Release Release which features some double tracking on the drums to give them a fuller sound and the noise of a crowd. No. Bad idea.

Eddy Offord had worked with the band on some of the original ideas for Tormato but is not credited. Having been the recording engineer for Time and a Word (1970), an album produced by Tony Colton, Offord and the group co-produced the sequence of albums from The Yes Album (1971) to Relayer (1974), a sequence that many consider to epitomise not only the best of Yes but a considerable proportion of the golden era of progressive rock. The clarity of instrumentation on Fragile (1971) and Close to the Edge (1972) are testament to an incredible working relationship. Offord was also hired as a recording engineer for the early Emerson, Lake and Palmer albums, their eponymous debut from 1970, Tarkus (1971), the live Pictures at an Exhibition (1971) and Trilogy (1972), where production duties were in the hands of Greg Lake. Offord did not help out on Brain Salad Surgery (1973) where are I find the sound clear but biased towards the treble. Chris Kimsey (who was famous for his work with the Rolling Stones) and Geoff Young shared engineering duties on Brain Salad; Offord was immortalised in the song Are You Ready Eddy? which appears on Tarkus, a track I tend to skip..; Yes put Offord's photo on the back cover of Close to the Edge. A quick check through my albums reveals that Offord changed from 'Eddie' to 'Eddy' some time in 1971, between Tarkus and Pictures at an Exhibition and between The Yes Album and Fragile.

If the classic Yes sound is partly due to input from Offord, what about other bands from that period? King Crimson were self-produced because they weren’t happy with Moody Blues collaborator Tony Clarke, (Giles Giles and Fripp released The Cheerful Insanity of Giles, Giles and Fripp on Decca’s Deram label in 1968, the Moody’s pre-Threshold stable), one of the reasons why Lake went on to produce ELP. In the early years Charisma Records label mates Genesis and Van der Graaf Generator (and Rare Bird and Lindisfarne) were produced by John Anthony. This wasn’t an act of control by the label, which generally ceded all creative control to the bands themselves, it was a collaborative approach where the ideals of producer Anthony fitted in with both Stratton-Smith’s sensibilities and the ideology of the groups. The compositions of both Van der Graaf and Genesis matured rapidly under this guidance, until VdGG split in 1972 and self-produced when they reformed with a trilogy of sonically well balanced albums, Godbluff (1975), Still Life (1976) and World Record (1976.) Foxtrot (1972) was produced by David Hitchcock and demonstrated a harder edge than Nursery Cryme (1971.) Hitchcock had worked extensively with Caravan and would go on to produce Camel’s Mirage (1974) and Music Inspired by The Snow Goose (1975.) Genesis would utilise the experience of John Burns for subsequent releases Selling England by the Pound (1973) and The Lamb Lies Down on Broadway (1974) and then form a creative relationship with David Hentschel for post-Gabriel albums A Trick of the Tail (1976) to Duke (1980.) The jazzy Camel albums Moonmadness (1976) and Rain Dances (1977) were co-produced with Rhett Davies.

I’m a big fan of Mike Vernon’s work with Focus, another producer who demonstrates that collaborative working gives the best results. Like Yes in the Eddy Offord years, there’s a particular quality that demonstrates the care taken over the music but also reveals a distinct sonic signature. When Yes changed their sound and image for 90125 (1983), it was to fit in with a more commercial music industry; the business had changed and self-production was frowned upon because it represented a loss of control by the record label. I think that the forced abandonment of cooperative principles, shared ideas and ideals was part of the grand design of the industry; record deals were harder to come by and relinquishing control of at least part of the process was a price that almost all bands had to pay. Pink Floyd were one exception; having self produced since More (1969), albeit with executive production by Norman Smith until Meddle (1971), they had enough clout to continue to call the shots. I believe the leverage applied by the record label was in most cases a destructive force, stifling creativity and narrowing the types of music that were available to listen to. Thankfully, the new wave of prog has managed to break free of the rule of the majors and though new acts aren’t likely to get rich without compromising their principles, there’s a strong relationship between the musicians and producers that mimics the ethos of 70s prog.



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