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Progressive rock may have first emerged in the UK but, thanks to touring continental Europe and the US, the genre flourished. ProgBlog examines the use of English-language lyrics by bands around Europe who have their own mother tongue...

By ProgBlog, Feb 6 2018 03:45PM

BBC Four has just shown a new, three-part series Hits, Hype & Hustle: An Insider’s Guide to the Music Business where the timing of the last episode, Revivals and Reunions, coincided with the announcement that the Spice Girls, who appeared in the programme, are reuniting for the second time for a reputed £50 million.



I found the whole series enlightening and enjoyable, despite the cherry-picking of featured artists who were represented in some capacity by the three different presenters, Emma Banks (episode 1, Making a Star), John Giddings (episode 2, On the Road) and Alan Edwards in the last episode. Banks deals with the publicity side of the music business and her film revealed the mechanics of record deals, what I consider to be a rather unsavoury world where the artist is simply a medium for the record company to make money. She’s an award-winning music agent and head of the London office for Creative Artists Agency and clearly exceptionally good at her job, exposing a diverse roster of musicians to the right audience using every conceivable lever at her disposal. Having recently been asked to listen to, review or otherwise publicise new music from upcoming and unsigned bands like Process of Illumination, Gaillion, Groundburst, Amber Foil, Servants of Science, Hats Off Gentlemen It’s Adequate, Dam Kat and Zombie Picnic who all have to resort to self-promotion, I now have a clearer idea of the difficulties faced by new acts, getting heard amidst the sea of noise, despite being responsible for some incredible music.


ProgBlog's reviews and to be reviewed
ProgBlog's reviews and to be reviewed

The Banks piece didn’t touch on prog but the second episode with John Giddings, a music agent and tour promoter covered a couple of progressive rock stories. There was film footage of Peter Gabriel-era Genesis, including some of The Lamb Lies Down on Broadway tour, an interview with Phil Collins, and Ian Anderson relating tales of Jethro Tull tours, from being one of the headline acts at the 1970 Isle of Wight Festival where they didn’t get paid, a gig where someone poured a glass of urine over him from above as the band was waiting to go on stage and another where a blood-soaked Tampon hit him in the chest. These last recollections were accompanied by a clip from the Stormwatch tour which began in the US in April 1979, and shows the returning John Glascock on bass. Glascock had been too ill to complete the previous tour so ex-Stealers Wheel and Blackpool contemporary Tony Williams was drafted in to deputise. Williams appears on Tull’s Live at Madison Square Garden 1978 DVD, a concert aired on TV at the time and widely regarded as a great performance.


Peter Gabriel
Peter Gabriel

Ian Anderson
Ian Anderson

Concentrating on his own artists, Giddings neglected to discuss any Pink Floyd tours which seems to me to be a rather glaring oversight. Alan Edward’s guidance through the third episode Revivals and Reunions also concentrated on the groups he’d represented so although there was overlap with the two preceding documentaries, there was no mention of anything prog and the chance to discuss the Floyd reunion at 2005’s Live8 was missed. What it did cover, sometimes during candid interviews with the protagonists, was the reunion tour money generated for the artists which they didn’t always benefit from when they were first active. During On the Road Ian Anderson revealed that in the early years when Tull toured with Led Zeppelin, four road crew between the two bands meant overheads were kept to a minimum and playing 15000-seater venues was very lucrative. Led Zeppelin may have gone on to great acclaim, but increasing the size of the entourage and running your own aeroplane can’t have helped the accounts. Singer Clare Grogan from 80s pop group Altered Images and the two remaining members of Musical Youth, Michael Grant and Dennis Seaton all remarked upon the absence of money in their heyday, despite their chart successes, compared to their satisfaction with remuneration from touring in the present.


The programme highlighted the success of ‘heritage’ acts, opening with a piece about the UK’s first revival concert, The London Rock and Roll Show at Wembley Stadium in August 1972, where a number of performers from the beginning of rock ‘n’ roll revealed the potential of musical legacy to make a great deal of cash. According to trade magazine Pollstar, classic rock dominated lists of revenue-generating tours during 2017, topped by the reformed Guns N’ Roses playing a ‘best of’ set; Forbes suggests Roger Waters’ The Wall is the fourth highest grossing tour of all time and tops the list for a solo artist. This then poses the question: Is there anything wrong with so-called ‘heritage’ acts who play a ‘greatest hits’ set? I’d also like to ask another related question: How many original band members do there need to be to continue or reform under the original moniker?


Having missed out on seeing almost all bands during the golden age of prog because I was both too young and geographically isolated (it took an hour to get to Lancaster, the nearest University City by train and then another trek by public transport to get to the campus), I’d only ticked off Fruupp, Barclay James Harvest, a Jan Akkerman-less Focus, Rick Wakeman, post-Gabriel Genesis, Peter Gabriel and Gordon Giltrap before moving to London as a student. My arrival in the capital coincided with the demise of prog when punk and new wave were riding high. My first London gig was the classic line-up of Yes performing on the Tormato tour and, as the band contained two original members and had continued to release roughly one new studio album per year (apart from the hiatus between 1975 and 1976), it would be difficult to argue that incarnation, subtly different to that at the start of the band’s creative peak, should not be called ‘Yes’. What about Focus? The group had already demonstrated a degree of fluidity between debut recording In and Out of Focus (1970) and Hamburger Concerto (1974) utilising four drummers (including Akkerman’s younger brother) and three bass players. Their fifth drummer was recruited halfway through recording Mother Focus (1975) and in February 1976, a couple of days before I went to see them at Lancaster promoting the album, Thijs van Leer asked Akkerman to leave the band.

The distinctive sound of Yes is the product of a group effort, most recognisable in a highly developed form from Fragile onwards though present from the self-titled first album in 1969. The music of Focus was reliant on roughly equal contributions from van Leer and Akkerman and it was obvious when I first heard portions of Mother Focus on the radio that all was not well in the Focus camp; going to see the band without Akkerman made the experience bitterly disappointing. I’ve now seen Focus a number of times but on the next occasion after Lancaster, in October 2009 and subsequently, I’ve really enjoyed their set despite the lack of the original guitarist, with first Niels van der Steenhoven and then Menno Gootjes providing some very sympathetic lines. I think there’s an increased sense of legitimacy to the group with Pierre van der Linden on drums alongside van Leer but it’s also the fact that the newest members seem to have an appreciation of the original Focus legacy.


Over the last three or four years I’ve now managed to see most of the classic progressivo Italiano acts and many of them split up because of insufficient support from their record labels, rather than the trappings of fame and success tearing them apart. PFM are one band who are committed to making new music where there’s only one original member remaining, though Franz di Cioccio is joined by long-term amico Patrick Djivas plus 1980s recruit Lucio Fabbri; Banco del Mutuo Soccorso also have only one original band member in Vittorio Nocenzi, but the addition of technically gifted and musically sympathetic associates makes both PFM and BMS well worth seeking out for live versions of some of the best compositions ever committed to vinyl. It seems that the resurgence of an interest in prog in Italy, aided by traditional publishing, the rather adventurous reissue of Italian prog classics on 180g vinyl and a well-organised network of gigs and festivals has allowed some of the more esoteric single-album bands like Semiramis and Alphataurus to reform with the participation of many of their original members. I consider the reformation of any of the 70s Italian bands a good thing because it means I have a good excuse to take a trip to Italy!



Alphataurus, Genoa May 2014
Alphataurus, Genoa May 2014

The issue of who has the right to the band name was raised in the Hits, Hype & Hustle series using Orchestral Manoeuvres in the Dark as an example. In their case, the record label held the rights to releasing music under the OMD banner and said they’d decide which of the two camps, Andy McCluskey or Paul Humphreys, to give the name to depending on how much they liked any forthcoming songs but, as Andy McCluskey was the face of the band, it seemed more sensible to allow him to use the name. Both Yes and Pink Floyd have found themselves in legal battles over ownership of the name of the group and in the 1989 case of Yes vs Anderson Bruford Wakeman and Howe, I think the music suffered as a result of not just compromise, but because the musical ‘spirit’ of the band was fractured, exacerbated by the unwarranted sacking of various members. ABWH played modern Yes music which in my opinion is an updated continuation of some of the better material on Tormato (1978) and I don’t think any of the new material written since then, maybe with the exception of some of Magnification, lives up to the standards of their 70s output. Even the excellent Fly from Here suite (on Fly from Here, 2011) was a product of the 1980 line-up.


The death of Chris Squire in 2015 left Yes without an original member but even before that they’d taken up the role of a heritage act, certainly in the UK where they performed The Yes Album, Close to the Edge and Going for the One in their entirety in 2014, and Fragile and Drama in 2016, omitting anything from 2014’s Heaven & Earth. I was happy to see the band on both of these tours and really enjoyed the performances; I like that music more than anything which came afterwards, even though I went to see them on the 90125, Union, Open Your Eyes, Magnification and Fly from Here tours. The inclusion of Billy Sherwood as a replacement for Squire fitted in with the idea of a Yes family and I think it’s the association of long-standing and former members coming together again with the occasional new face that means it’s perfectly valid for the band to retain its name, even without an original member. The appearance of Anderson Rabin Wakeman, now calling themselves Yes featuring Jon Anderson, Trevor Rabin, Rick Wakeman might have alerted the lawyers but so far, two bands each with a good claim on the name are providing fans with renditions of some of the best recorded music, ever.












By ProgBlog, Aug 7 2016 10:01PM

Yesterday marked the anniversary of the first ever use of a nuclear weapon, one of only two times nuclear arms have been utilised in conflict when Little Boy (a reference to Franklin D Roosevelt who was president at the time of the inception of the Manhattan Project, the US atom bomb program) was dropped by the American B-29 Superfortress Enola Gay on the Japanese city of Hiroshima, chosen because it was one of the main supply depots for the Japanese army. The device was over 2,000 times more powerful than the largest bomb used up to that time and devastated an area of 13 km2, destroying over 60% of the buildings in the city and, at the time recorded as killing 118,661 civilians. Later estimates suggested the final death toll was up to 140,000 (from a population of 350,000 including military personnel and those who subsequently died from radiation.) Many would also suffer from long-term sickness and disability. Three days later, the US dropped a second, bigger atomic bomb, Fat Man (a reference to Winston Churchill) on Nagasaki. Nearly 74,000 were killed and a similar number injured and though this was a more powerful device, the geography of the region restricted the level of destruction to a little less than 7 km2. The Japanese were effectively left with no choice and surrendered to the Allies on 14 August 1945.

The threat of all-out nuclear war can only be exacerbated by the unwillingness of members of the nuclear club to dismantle their arsenals. I may have grown up in the town most associated with building the vessels that carry Britain’s ‘independent’ nuclear deterrent but ever since my school days when I became politically aware, I’ve believed in unilateral nuclear disarmament. A 2014 report from the Stockholm International Peace Research Institute (SIPRI) listed nine nations possessing nuclear weapons In order of acquisition: the United States; Russia; United Kingdom; France; China; India; Pakistan; Israel; North Korea. They have approximately 16,300 weapons between them. All, apart from Israel, are known to have successfully detonated a nuclear device but it is the first five which are considered to be ‘nuclear-weapon states’ (NWS) under the terms of the Treaty on the Non-Proliferation of Nuclear Weapons (NPT) whilst India, Pakistan and North Korea obtained their weapons after the NPT; North Korea did become a signatory but withdrew in 2003. Israel maintains a policy of deliberate ambiguity regarding its atomic weapons program but is estimated to have approximately 80 nuclear warheads. South Africa developed nuclear weapons but disassembled its arsenal before joining the NPT. The SALT talks resulted in some decommissioning but while any weapons exist, there’s a potential to use them. The fall of communism has given way to a dangerous nationalism in Eastern Europe and the posturing by the North Korean oligarchy can only raise tensions. At least sense prevailed over the Iranian nuclear program, though the possibility of President Trump reversing the US/Iranian accord is rather worrying.

On the flip side there’s also the peaceful use of nuclear power, the creation of clean energy from Uranium or Plutonium, plus some pretty toxic waste that hangs around for a very, very, very long time. Also as a schoolboy, I doodled imaginary nuclear power stations and, as a sixth former studying physics, stood on top of the reactor at Sellafield during a site visit (when it was still called Windscale.) At that time tests were being carried out to vitrify the nuclear waste, which would have revolutionised storage of spent nuclear fuel. Sellafield was the site of the UK’s worst nuclear accident in 1957 when a fire broke out in a reactor chimney and the surrounding countryside was contaminated with radioactivity. Amazingly, the Infield Park Gang had access to a long wheelbase Land Rover, driven by the father of a neighbour, which dropped us off at local beaches for a day during the summer holidays. Roan Head was a favourite destination, largely because of the extensive sand dune system and though we were aware of the presence of effluent in the water it didn’t stop us swimming, joking that the presence of radioactivity in the Irish Sea was sufficient to neutralise any number of bacteria.


Roan Head
Roan Head

Last week the UK government continued to procrastinate over the construction of Hinkley Point C which has been dogged by a string of controversies, not least of which is the untested design. Without heading down the nuclear waste debate, I’m equally concerned about the requirement for Chinese money and the unit price of electricity negotiated with the French company EDF who will be running the plant which almost everyone agrees is a poor deal for consumers. However, neither the delay in making a decision nor the government’s energy policy of supporting fracking and removing subsidies on renewable generation, surprises me in the least.

I can’t think of any prog albums that are about nuclear power though Steve Rothery’s haunting, atmospheric and melodic The Ghosts of Pripyat (2015) deals with a post-Chernobyl landscape. His main band Marillion released Radiation in 2008 but the reference there, in the song Under the Sun, a track that sounds more like indie rock with some good organ bursts, is global warming. The best song on that album is the lengthy A Few Words for the Dead which features a more experimental sound and approach, coming across more thought provoking with both eastern and middle-eastern sounds before an anthemic section just after half way through the song preceding a decent guitar solo. Orchestral Manoeuvres in the Dark may not be prog but their anti-war song Enola Gay (from Organisation, 1980) is an undisputed classic. It cites three references to the Hiroshima attack, Enola Gay (the aeroplane), Little Boy and the time of the bomb drop, 08:15:

“It's eight fifteen

And that's the time that it's always been

We got your message on the radio

Conditions normal and you're coming home

Enola Gay

Is mother proud of little boy today”

An OMD precursor band, The Id, according to OMD founder Andy McCluskey, was a “bunch of teenagers playing art-school rock that was on the proggy side. We had a brief flirtation with Yes and Pink Floyd.” Former Gong bassist Mike Howlett produced Messages, Enola Gay and Souvenir for OMD after Dindisc boss Carol Wilson insisted they have an outside producer for their third single, the first two having not done very well and sounding somewhat thin. Howlett was Wilson’s boyfriend.


Roger Waters was born into a family with strong left-wing views and his mother was a involved with CND. Two Suns in the Sunset from the last Waters-era Floyd albums The Final Cut (1983), released at the height of the cold war this track spells out the end of the human race in nuclear annihilation, the final track of his final cut with the band, the ultimate anti-war album. A lighter anti-nuclear arms song was released by Waters’ erstwhile colleague David Gilmour on his second solo album About Face (1984). The track Cruise refers to American Cruise missiles which were based at RAF Greenham Common in Berkshire, arriving in November 1983. There are two versions of the chorus but the first includes the line “Saving our children, saving our land” which reflects the women-only nature of the peace camp at Greenham, an important facet because the women were using their identity as mothers to legitimise the protest against the nuclear missiles for the safety of their children and future generations. Meanwhile, Gilmour protégé Kate Bush was also singing about the aftermath of nuclear conflict with the single Breathing which would appear as a more lengthy version on Never for Ever (1980.) This track has a further Floydian link, as the spoken words, taken from Protect and Survive, the hopelessly ineffectual official government instruction booklet for civilians in the event of a nuclear strike, “How to make your home and your family as safe as possible” are recited by Roy Harper. I love this track; the video was pretty epic but the brilliant fretless bass, provided by John Giblin, gives me goose bumps. On a non-progressive rock aside, Sting’s first solo album The Dream of the Blue Turtles (1985) features Russians and whereas the album is predominantly soft-jazz, Russians borrows from Prokofiev and addresses the cold war standoff, using clever lyrical references to the atomic bomb.



It may not be the longest track on the eponymous Anderson, Bruford, Wakeman, Howe album (1989) and to an extent it’s a bit of an oddity, but Birthright is not just a great sounding song with some beautiful Steve Howe guitar, it evokes vast, barely populated areas of Australia and captures the huge disservice to the Aboriginal people when the British government tested its first atomic weapon in Woomera, in 1954. The test was Britain flexing its muscle in an era when the British Empire was crumbling. This loss of global influence has continued and though there are a number of successful global British brands, our European referendum earlier this summer reflects a desire by 52% of the population to go back to the glory days of Empire. I’m only surprised by so-called progressives who want to retain nuclear weapons. They’re ridiculously expensive, they’re not independent and their deterrent value only increases when you’re willing to have the blood of millions of innocent people on your hands. Nuclear weapons? No thank you.







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