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Recently returned from the 2018 Porto Antico Prog Fest in Genoa, where ProgBlog met up with last year's star turn Melting Clock, and discussion turned to the artwork for their forthcoming album which is due to begin recording in the next couple of weeks...

By ProgBlog, Jun 18 2018 03:41PM

In addition to progressive rock, I harbour an interest in architecture and last Saturday I signed up to a London Society lecture by Urban Design academic Dr Jane Clossick ‘The Plan for London and the Concrete Better World’ at London Metropolitan University. Highlighting her talk with pertinent case studies to explore themes of civic, economic, social and architectural change, she began with Abercrombie’s Plan for London (1943-44) which represented a shift from cities simply growing around people to the modernist notion that man was able to plan the city using the view from above, with pedestrians and vehicles spatially separated and distinct zones for industry, commerce and housing, with the housing soaring above the smog of the city. Her enthusiasm for this unique phase in the history of the capital’s architecture and how it has left its indelible print on the urban grain of the city was not a straightforward paean to concrete because she was dismissive of some of the social housing schemes, citing the deliberate design of spaces which had not historically featured in neighbourhoods and how these became the focal points for antisocial behaviour; what she did admire was the idea of the Southbank which facilitated access to high culture for all social strata.



I’ve previously blogged about the mistaken idea that progressive rock was elitist, personally believing that efforts to bridge high culture with popular culture coincided with a flourishing of civic architecture in concrete and that a wave of expansion of higher education institutions, often featuring iconic buildings in concrete, created a particular zeitgeist that allowed prog to develop. I found myself surrounded by the former-imprinted concrete of the Southbank again last week, to hear the BBC Concert Orchestra conducted by Michael Seal performing pieces for David Bedford at 80 at the Queen Elizabeth Hall. Bedford died from lung cancer aged 74, in October 2011; he would have been 80 this August.



Bedford was one of the foremost proponents of providing universal access to high culture, whether through his best known work, orchestrating Mike Oldfield’s Tubular Bells and his time as arranger and keyboard player for Kevin Ayres’ The Whole World or with his approach to composition; charts using pictures, rather than staves and notes and advocacy for unusual instrumentation, employing balloons, kazoos and even suggesting at one time that cans of dog biscuits were just as good as maracas.

One of the pieces last Tuesday was Orchestral Tubular Bells, marking a return to the Queen Elizabeth Hall for Bedford with Oldfield’s music; Bedford played keyboards for an ensemble created to promote Tubular Bells in the Hall a month after it had been released in 1973, alongside Oldfield and a cast of musicians associated with Virgin Records, including John Greaves and Fred Frith of Henry Cow and Steve Hillage from Gong.


My interest in the work of Bedford was first sparked by Oldfield’s 1974 sophomore release Hergest Ridge when I bought it in 1975. It remains my favourite Oldfield album, largely because it seems to have been influenced by the style of Romantic composers, its development and execution aided by supplementary musicians playing instruments associated with classical orchestras. Around this time I’d have also picked up the sleeve of Star’s End (1974) and later Instructions for Angels (1977) while browsing in record stores, though I never bought either record. In my opinion, developed over the last 45 years, Bedford’s scoring and arrangement for Camel’s Music Inspired by The Snow Goose (1975) is the best example of seamless blending of rock group and orchestra but it was The Song of the White Horse, a piece originally commissioned for BBC TV’s Omnibus and aired in 1978 which most made me appreciate his music. The programme showed Bedford in the process of writing, rehearsing and recording the score as well as performing it, interspersed with footage of him riding his motorcycle along the route of the Ridgeway to the White Horse at Uffington, his inspiration for the commission. He utilised a small ensemble with brass and strings, borrowed Soft Machine’s Mike Ratledge to help out on keyboards, and used the hand-picked female Queen’s College choir from his place of work and even employed another avant garde innovation, helium gas to increase the pitch of Diana Coulson’s vocals by around two octaves (speed of sound in air = 331 m/s; speed of sound in helium = 972 m/s) as the piece reached a climax of the libretto, GK Chesterton’s poem The Ballad of the White Horse celebrating King Alfred's victory over the Danes at the Battle of Englefield in 870.

The White Horse dates from around the Bronze Age, created by carving trenches into the hillside which were filled with crushed chalk. Part of a wider ancient landscape which includes the Blowing Stone, a perforated sarsen stone used in Bedford’s composition, the horse can be seen from miles away, as though leaping across the head of a dramatic, dry valley. One of my friends from university may have bought the Instructions for Angels LP in lieu of The Song of the White Horse, because the latter wasn’t available until 1983. It wasn’t until much later that I started to collect Bedford’s music; first a 1977 live recording of The Odyssey on CD which is a relatively formal rock piece, then Star Clusters, Nebulae & Places in Devon/The Song of the White Horse (1983) located at a second-hand vinyl fair in Brighton, and then The Rime of the Ancient Mariner (1975), first on CD and subsequently on vinyl from a Brighton flea market.


Seduced by the promise of a performance of The Orchestral Tubular Bells though quite happy to experience any of Bedford’s music I’d not heard, I signed up to the concert well over a year ago; it was only later that I learned that we’d also be treated to Alleluia timpanis, Symphony No.1, and a guest composition, the world premiere of A Little Bit of Everything by Robin Rimbaud aka Scanner.

Alleluia timpanis was commissioned for the King’s Lynn Festival in 1976 and incorporates the medieval Alleluia psallat theme, a joyous, uplifting refrain that interrupts, and contrasts with an ominous four-note descending line that is varied, developed and inverted throughout the piece, which forms the finale of Instructions for Angels. It was a rather good introduction to the evening.


Programme notes written by Bedford’s daughter Tammy explain why Scanner’s work was included that evening; any celebration of his work had to include an acknowledgement of his support for fellow composers throughout his life, so commissioning someone whose compositional style was different from her father’s but who would be inspired by Bedford’s work, fitted in neatly with the idea of his 80th anniversary. Tammy Bedford had known Scanner since 2002 and was aware of his works created in response to other musicians, but also that he respected her father’s work, so he was invited to write a piece for the concert. Interviewed just before the composition was premiered, Scanner explained that A Little Bit of Everything wasn’t a cover version or arrangement of Bedford’s music, but used phrases from the works, much like Bedford himself had borrowed from other texts such as the Worcester Fragments in Alleluia timpanis, and presenting a form of time travel, highlighting the exploratory nature of Bedford’s compositions and combining the orchestra with live electronics played by Scanner himself, closing with synthesizers in a nod to Bedford’s use of the instrument in the mid 70s. The stage was mostly cleared for this piece, leaving only a small chamber orchestra with Scanner towards the edge of the platform on the left. In good Bedford tradition, the music brought the best out of the players, sounding fairly challenging though ultimately very satisfying. The one drawback was that from my seat, the electronics were a little under-mixed.


When I first took my seat and saw the musicians appear I was a little surprised that a conventional orchestra was being used for a celebration of David Bedford; it was less surprising to see multi-instrumentalist, composer, instrument designer and Stick Men guitarist Markus Reuter, whose compositions share some traits with Bedford’s, sitting in the row behind. For those who like their avant-garde, there had been a performance of Bedford’s Balloon Music 1 in the foyer using members of the public before the concert proper but Symphony No. 1 (1984) conforms to a more traditional compositional style than the works associated with his atonal avant-garde output and rock (specifically crossover prog), employing a strongly melodic, tonal approach. Sitting in the third row was the first time I’d been close enough to an orchestra to relate to the instrumentation with a clear view of the ensemble slightly raised above the floor of the auditorium. The BBC Concert Orchestra is not the biggest, with around 60 members on stage, but I found that being able to discern its organisation was helpful in discriminating how the piece had been scored, how the overall composition fitted together, and even how Bedford had so successfully blended Camel’s melodic progressive rock with (an unnamed) orchestra which I now see has his stamp all over it.



Orchestras have changed very little in composition during the course of the 20th century, having expanded in the 18th and 19th centuries, the size and make-up dictated by the writing of prominent composers of the time who were in turn largely influenced by the possibilities of the instruments available to them. The clarinet was not invented until around the turn of the 18th century, so it doesn’t appear in accurate renditions of Baroque music and valves for brass instruments were not invented until the early 19th century, at which point there was a rapid growth in both the number and the prominence of trumpets and horns, coinciding with the Romantic period. As the number of woodwind, brass, and percussion instruments increased, the size of each string section also increased in order to balance the output of the different sections of the orchestra.


Orchestral Tubular Bells was everything that I’d hoped for. I hadn’t heard the album since around the time of its release, but had to agree with the comment from Neil Jellis, who had organised the tickets for the evening, that if you hadn’t heard the original, the music could well have been a classical composition. It’s possible that Bedford’s arrangement, while true to the recording, was the spur to Oldfield’s remastering of the classic album in 2009 in an attempt to bring out buried layers; the orchestral version does this so well. One of the very few weak spots on the original, as much for the stomping rhythm as the vocals, is the ‘Piltdown Man’ section on side two, a nod to the perceived belief it was necessary to have singing on the album, which is covered much better by an orchestra. Another of the highlights was the guest appearance of Steve Hillage on guitar. There’s a brilliant YouTube clip of Hillage with the London Philharmonic playing Orchestral Tubular Bells at the Royal Albert Hall in 1974, causing consternation or confusion (or both) for one of the double bassists. Invited to play the music again, he had swapped his Stratocaster for a Steinberg GL2T, lost the woolly hat and wore his hair at a more conventional length. After a cautious start he provided a surprisingly clean-toned blues-heavy solo, before switching on the distortion and giving us a tantalising glimpse of his trademark glissando guitar at the end of his appearance. He left the stage to rousing applause while the orchestra ploughed into the Sailor’s Hornpipe section, and they too were given an ovation that may have taken some of them by surprise.



The possibilities afforded to composers since the birth of electronic instruments together with a willingness to explore different fields ensured that formal music progressed. The appropriation of classical music forms by rock musicians from the late 60s onwards marked the birth of progressive rock. David Bedford was equally at home in both camps, at the forefront of a movement ensuring that all forms of music could be appreciated by everyone and anyone.









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

_______________________________

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, Apr 21 2015 07:53PM

It’s indisputable that progressive rock was a genre of grand concepts from the straightforward interpretation of classic novels (Camel’s Music Inspired by The Snow Goose, which celebrates its 40th anniversary this month for example, based on Paul Gallico’s novella); the search for enlightenment (that’s my personal take on Tales from Topographic Oceans); the stresses of everyday life (Dark Side of the Moon); or allegory (The Lamb Lies Down on Broadway.) Though The Gift released Awake and Dreaming in 2006, a project that began in 2003 following the invasion of Iraq by a US-led coalition and which features a multi-part suite concerning the savagery of war, I find it somewhat surprising that during the golden era of prog there wasn’t an entire concept album about the horrors of warfare. I witnessed The Gift perform at the Resonance Festival in Balham last year and was impressed by Mike Morton’s musical depiction of the madness and futility of global conflict – I resigned as a member of the Labour Party because of Iraq.

Folk music was one of the keystones that enabled prog to form but in the UK, it seemed to be folk associated with tradition that informed prog, and this often tended to be dark; it was US folk that evolved into protest music because of both the inequality suffered by large numbers of the country’s own citizens and the prevailing American foreign policy from the 50s onwards. The Peace movement and the counter-culture were directly opposed to the American Dream, its imperialistic tendencies and its consumerism, and the ideals of these dissidents were imported to England when musicians, who acted as agents for change, crossed back and forth across the Atlantic. In this way John Lennon’s Give Peace a Chance became an anthem of the American anti-war movement following the release of the single in 1969 by the Plastic Ono Band.

The Nice used America as a form of protest, getting banned from the Royal Albert Hall in the process, though this wasn’t about combat on foreign soil; they also included the track War and Peace on their first album, The Thoughts of Emerlist Davjack but this had started out as a tune called Silver Meter, played when Emerson was a member of the T-Bones. A live show staple, War and Peace was described by one critic as an ‘instrumental which seems to run like a hell-bound train through war inflicted landscapes.’ I sympathise with that view – the song is fairly raw and features some serious Hammond abuse and Davy O’List guitar histrionics.

When Greg Lake joined up with Keith Emerson in ELP, he brought with him some of the hippy ideals of Peter Sinfield. Though In The Court of the Crimson King isn’t an anti-war album, it comes across as anti-totalitarian and in 21st Century Schizoid Man Sinfield’s lyrics clearly point out the evils of contemporary warfare: “Innocents raped with napalm fire”. Though Lake had left Crimson before 1970’s In the Wake of Poseidon he did provide the vocals for the three-part Peace, the ultimate part of which follows The Devil’s Triangle, an instrumental track based on Gustav Holst’s Mars, the Bringer of War; despite a lack of an explicit condemnation of warfare, the final words on the album are “Peace is the end, like death / Of the war.” One of Lake’s defining contributions to the eponymous first Emerson, Lake & Palmer album was the acoustic ballad Lucky Man that though he claimed was written when he was 12 years old, contains imagery that can only have been forged later in his life, painting a picture not just of the futility of acquiring possessions but also the stupidity of war. There are a number of oblique references to war throughout the early ELP albums; one interpretation of Tarkus is that the animal-machine hybrid represents totalitarianism, crushing culture, spirituality and freedom, and technology that has gone out of control (a subject revisited on Karn Evil 9 from Brain Salad Surgery, where Sinfield had been reunited with Lake to provide lyrical ideas.) According to William Neal, who provided the cover artwork, the name ‘Tarkus’ is an amalgamation of Tartarus (gloomy pits of darkness used for punishing angels that sinned, mentioned in 2 Peter 2:4 from the bible) and carcass, indicated by the album title written in bones on the cover. Consequently, he suggests the title track refers to the "futility of war, a man made mess with symbols of mutated destruction" but I think his explanation has been fitted in retrospect; it may reflect his painting but the music and lyrics can be interpreted in a number of ways.

Jon Anderson reprised John Lennon on I’ve Seen All Good People from The Yes Album (1971.) I’m almost ashamed to admit that it wasn’t until I saw Yes playing live that I picked up the words “All we are saying is give peace a chance” during the Anderson-penned Your Move section, some three years after I’d bought the album. My only excuse is that despite the track being a favourite of most fans, it doesn’t actually move me at all; it’s too simplistic, especially the All Good People part. I even prefer A Venture where the bass line is far from conventional. The Yes Album does in fact contain one of the most explicit anti-war songs in the progressive rock canon: Yours is no Disgrace. Jon Anderson has said that the meaning of the song is recognition that those fighting in the Vietnam war had no choice other than to fight, in effect carrying out the orders of a government with policy based on dogma. As the first track on the album it gains added importance for being the first of the long-form Yes songs.

Yes returned to the theme of war with The Gates of Delirium, the side long track from Relayer (1974). It has been said to have been inspired by Tolstoy’s War and Peace which both Anderson and Patrick Moraz had been reading but Anderson has simplified the concept to a battle scene with a prelude, a charge, a victory tune and a peaceful resolution leading to hope for the future; he has further suggested that it wasn’t an explanation of war or a denunciation which makes the piece more descriptive than protest. I love the aggressive feel of the composition, the crashing scrap metal and the strident guitar and keyboards which give the piece a jazz rock edge.

Maybe I’d been looking for the war concept album in the wrong place. Given the political state of Italy in the early 70s and the alignment of most progressivo Italiano with left-wing ideology, it can come as no surprise that there are a number of anti-war songs in the sub-genre, music that I’ve only recently discovered. The first Banco del Mutuo Soccorso album contains the track R.I.P Requiescant In Pace where the music and words conjure a battlefield scene, aptly summed up by author and prog reviewer Andrea Parentin as a bitter reflection of the inhumanity and uselessness of war and glory. Another feature of Italian prog is the number of bands who only ever produced one album. Tuscany based Campo di Marte took their name from a suburb of Firenze and, according to band leader, composer and guitarist Enrico Rosa that name, Field of Mars, allowed them to write lyrics about the stupidity of wars. Their only, self-titled album features a cover depicting Turkish mercenaries inflicting wounds on themselves to demonstrate their strength; the sleeve notes of the 2006 AMS remastered version inform us that the entire composition was arranged with specific purpose of pointing out ‘the absurdity of war and people’s complete impotence at the mercy of violence’. Another one-album group (another self-titled album, too!) was Alphataurus, with a release from 1973 that relates a disturbing dream of the threat of nuclear war but is balanced by the hope that we don’t have to follow that path and we can start over again. The incredible cover painting, a triple gatefold, appears to include a small homage to William Neal – a stegosaurus on caterpillar tracks.



By ProgBlog, Mar 1 2015 11:32PM

On Friday 27th February I attended the first show in 17 years by analogue synth quartet Node at the Royal College of Music. This prestigious venue seemed rather suitable, affording electronica appropriate recognition as a distinct, legitimate musical form; hardly surprising when you consider the CVs of the band members: production legend Flood; veteran producer and musician Ed Buller; film composer Mel Wesson; and Professor Dave Bessell.

Arriving in the Amaryllis Fleming concert hall, we were greeted with what had been dubbed as the largest collection of vintage analogue synthesiser equipment ever seen outside a recording studio, with an estimated value of £500000; largely made up of modular synthesizers but with a couple of mini Moogs and a VCS3 also quite evident. The group played four pieces over two sets that lasted 90 minutes; all the material was sequencer driven but there were two distinct styles: one, a spacey ‘Berlin school’ sound that was inspired by mid 70s Tangerine Dream and the other was a more industrial sound where the sequences marked out aggressive, percussive beats as though forming the soundtrack to an imaginary film where a derelict factory had been occupied by feral denizens in a bleak vision of a dystopian near-future. Partial, fractured images of the band, interspersed with bubbles and Tron-like graphics were projected onto a circular screen just above and behind the band, the real time images captured by the video cameras trained on each of the musicians. The compositions weren’t all keyboards and sequencers; Dave Bessell performed with a guitar strung around his neck that he strummed lightly on a couple of occasions, so lightly that you couldn’t actually hear it at times. For the first half of the performance I sat at the back of the auditorium, having acquired my ticket in the week before the show, and was mesmerised by the weaving sequences and the otherworld synthesizer washes as they radiated away from the stage via a series of speakers placed along the length of the hall. In the second half of the show I sat in the second row (apparently some people were unable to make the show) which afforded a great view of the four silent, black-clad musos as they subtly manipulated their instrument settings. This was a very enjoyable gig, however different it was from the concerts I normally go to, my first live electronica event where it seemed that all the cream of British electronica had gathered.

In the pub before the show, the excellent Queen’s Arms, Queen’s Gate Mews, I’d been discussing analogue keyboard equipment with friend Neil Jellis, agreeing that the full analogue sound was so much more satisfying than the digital machines that emerged at the end of the 70s. I described some Wakeman Moog from The Six Wives of Henry VIII that Neil later identified as being on Anne Boleyn, which I consider quite sublime, one of the best Moog sounds ever. This conversation turned to White Rock which we both believe is under-rated and so much better than the material that both immediately preceded it and the output that followed Criminal Record. With the exception of the single novelty track The Breathalyser, Six Wives, White Rock and Criminal Record are purely instrumental and whatever you feel about the accuracy of the images they evoke, they utilise the full gamut of analogue technology to create miniature masterpieces of keyboard-based rock. I think that these three albums represent Wakeman’s best work and have previously criticised his forays into lyrics. This got me thinking whether or not the best prog is instrumental or vocal...

There are some groups where the vocals were integral to the ethos of the band, whether they were integral to the song’s narrative (Genesis) or philosophical musing (Yes); some where vocal tracks were balanced with instrumentals, possibly because there was no stand out singer in the band (Camel, King Crimson, Greenslade); and the fully instrumental (early Enid, Mike Oldfield, Gordon Giltrap.) It’s possible that the inclusion of vocals was a hangover from the rock roots that made up prog; the bands that were more influenced by jazz tended to be less inclined to use vocals, certainly Soft Machine, after the departure of first Kevin Ayers and then Robert Wyatt, went on to produce instrumental-only music. My collection includes the full spectrum from fully instrumental to all vocal and one of my personal favourite albums is Tales from Topographic Oceans, where the meaning of the lyrical content is difficult to discern. In Tales, the structure of the music is enhanced by the vocals but there are extended instrumental passages, which means the success of the concept relies on a balance of the relative strengths of the music and the song words. I think Yes get it about right though there are plenty of people who think the album fails on both accounts. Camel’s early output was a mixture of songs and instrumentals, until they released the excellent instrumental Music Inspired by the Snow Goose then subsequently reverted to a combination of the two forms. The recruiting of Richard Sinclair, a more accomplished vocalist than either Andy Latimer or Peter Bardens and someone with a jazz-informed vocabulary, resulted in a shift towards more songs. However, this may have been a result of record label interference, wanting the band to record a hit single (Highways of the Sun may have been radio friendly but it didn’t make the UK Top 50.) During the 70s Focus were predominantly instrumental, the exceptions being the title track from Moving Waves, Round Goes the Gossip from Focus 3, La Cathedrale de Strasbourg from Hamburger Concerto and I Need a Bathroom from Mother Focus. My favourite post-Barrett early Floyd are the space rock and prog instrumentals A Saucerful of Secrets, Atom Heart Mother and One of These Days. Dark Side of the Moon is a fantastic album despite the sixth-former lyrics and the title track from Shine on You Crazy Diamond, like Echoes, is predominantly instrumental. The angelic-voiced Greg Lake was a key component of the first incarnation of King Crimson and though John Wetton was an able vocalist, it’s the musicianship and improvisational talents of the Larks’ Tongues era Crimson that stand out.

Of course this is all subjective; the relative abilities of group members on their respective instruments, their influences and their vision of the best way to get their ideas across all play a part. But if I’m more interested in the instrumentation, how come my favourite album is Close to the Edge?



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