ProgBlog

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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, May 29 2018 06:10PM

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



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

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


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


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


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

Then came UK.

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




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

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

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

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

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


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


The golden era of progressive rock was over.









By ProgBlog, Mar 12 2018 10:28PM

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

These are their 9 albums:



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

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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, Jan 16 2018 08:52PM

I’m just back from a couple of days skiing in Chamonix, what I hope will turn out to be a warm-up event to a full week somewhere else later in the year. The town itself is very pleasant and though I’ve skied in the area three times before, we’ve always been based a little higher up the valley in Argentière and whereas we’d previously driven down to the resort, this time we flew to Geneva and took a transfer from there. We’d drive through Chamonix at the beginning and end of holidays and to get to some of the ski areas, scattered from just south of the town up to Balme at the head of the valley; we’ve even stopped there to see a screening of the second of the Lord of the Rings films, The Two Towers in English. So for the first time since our inaugural trip in March 2000, I managed to get a feel for the place, somewhere I’d read about in climbing accounts by Don Whillans, Joe Brown and Dougal Haston when I was a youth and somewhere I felt I knew well enough to base one of my O Level English Language exam essays.


Chamonix
Chamonix

I’m pretty sure there has been a lot of change since I read mountaineering books in the mid-70s, a time when young rock climbers used to name routes after prog tracks: The Gates of Delirium grade E4 (6a), described by UK Climbing as ‘magnificent’, Relayer (another E4) and Close to the Edge E3 (5c) are all climbs on Raven Crag, Thirlmere, in the Lake District and there’s also a Gates of Delirium in Yosemite; Genesis are represented by Hairless Heart, a grade E5 (5c) slab climb on Froggatt Edge in Derbyshire first ascended, solo, by John Allen in 1975 but there are others. There’s a thread from 2012, now closed down, on the UK Climbing site which asked why “an unnaturally high proportion of route names reference Pink Floyd, other dubious prog rock, or Tolkien.” The one sensible answer suggested that prog coincided with an explosion of new routes, though I did like the response “What's wrong with Prog rock? Or J.R.R. Tolkien? Many people have been inspired by the writings of Tolkien and the music of Pink Floyd, Genesis, Rush, Led Zeppelin, Yes etc. The fact is that both tend to ramble on a bit, but are ultimately rewarding in the end.” The erection of a new sports hall at my school included a short, under-used climbing wall and along with a couple of others I was allowed to climb during PE lessons. Access to Lake District routes in Coniston and Langdale was facilitated by Honda 550, with me sitting pillion and carrying the gear but I wasn’t nearly as good at climbing as I’d hoped. However, progressive rock and rock climbing seemed intrinsically linked as I flicked through Crags and High magazines listening to Alan Freeman’s Saturday Show on the radio, ticking off another prog-inspired route name.



I imagine there has also been some considerable change since I was last in Chamonix in 2005, even though the journey through Argentière up to La Tour was punctuated with familiar buildings. As someone who fully subscribes to the Italian version of coffee culture and will quite willingly frequent the sort of independent coffee shop that plagues hip areas of London and London commuter towns, I’ve found it difficult but not impossible to locate a decent espresso on my last couple of skiing trips to France. Last year, Val d’Isère had the Arctic Cafe and this year we found La Jonction Coffee, set up by two people who couldn’t find a decent coffee... The name of the cafe refers to the confluence of the Glacier des Bossons and Glacier de Taconnaz above the town at 2589m.
I imagine there has also been some considerable change since I was last in Chamonix in 2005, even though the journey through Argentière up to La Tour was punctuated with familiar buildings. As someone who fully subscribes to the Italian version of coffee culture and will quite willingly frequent the sort of independent coffee shop that plagues hip areas of London and London commuter towns, I’ve found it difficult but not impossible to locate a decent espresso on my last couple of skiing trips to France. Last year, Val d’Isère had the Arctic Cafe and this year we found La Jonction Coffee, set up by two people who couldn’t find a decent coffee... The name of the cafe refers to the confluence of the Glacier des Bossons and Glacier de Taconnaz above the town at 2589m.

I didn’t expect to see any record shops in Val d’Isère but I did think there might have been one in Chamonix, with its population of around 9000, a little less than that of Auray where I bought my first Ange CD Le Cimetière des Arlequins (from 1973.) Unfortunately there weren’t any so apart from listening to Semiramis’ Frazz Live (2017) on my mp3 player, the only music I got to hear was piped from restaurants and on one occasion, a truly awful singer-guitarist at the Irish Coffee bar across the road from our hotel. I don’t have much winter- or snow related music in my collection; I own a copy of Rick Wakeman’s White Rock (1977), the soundtrack to the official film of the 1976 Innsbruck winter Olympics and regard it as a return to form after Journey to the Centre of the Earth and The Myths and Legends of King Arthur and the Knights of the Round Table. My favourite track is Lax’x and my next favourite is the definitive prog track on the album, Ice Run but there are a number of snippets of music used in the film that form a sonic link between the different Olympic disciplines that don’t appear on album tracks, some of which are very Yes-sounding. The album’s instrumentation of keyboards, percussion and choral backing provides an effective, coherent narrative that works well for both audio and cinematic formats, linked by the melodic ‘searching for gold’ keyboard motif. I really like Wakeman’s full use of a range of keyboards and think it’s that which makes the album stand out from its immediate predecessors; there’s a much broader range of tonality, even though there’s no guitar or bass guitar.


Wakeman was an integral part of the band for Fragile (1971), as Yes came close to perfection. Roundabout, with its imagery of mountains that ‘come out of the sky’ from ‘in and around the lake’ could represent somewhere like the Lake District or the Swiss Alps but this doesn’t necessarily suggest winter, unlike the lyrics to the angular, driving and somewhat overlooked South Side of the Sky with its message that natural forces can be brutal. It’s ironic that White Rock was recorded in Wembley but when Wakeman rejoined Yes in late 1976, the band had decamped to Mountain Studios in Montreux, Switzerland to record Going for the One (1977), where Wakeman subsequently recorded 1977’s Criminal Record.

ELP were another band who combined a tax-break with recording in Montreux for parts of Works Volume 1 (1977) and though Fanfare for the Common Man wouldn’t normally fit into a ‘winter’ category, the video for the truncated version released as a single which reached no.2 in the UK charts was filmed in the futuristic Montreal Olympic Stadium (where they were rehearsing for the Works tour in a basement car park) after Greg Lake emerged from rehearsals for a breath of fresh air and was immediately struck by the vision of the snow-covered arena.


Another apt piece of music that I own is Winterthrough (2005) by Höstsonaten, part of a season-themed set of luscious melodic symphonic Italian prog albums. The standout track is Rainsuite which also featured in Fabio Zuffanti’s Z Band set list; it’s made up of a number of linked melodies which I think puts it in the Focus or Camel bracket. Camel had their own winter-related mini-epic Ice from I Can See Your House from Here (1979) which I hummed to myself on the skiing trip as we visited an ice cave carved into the Mer de Glace. Both the ice cave and the track have a stately beauty; witnessing Camel play the track live when they were promoting the album and the experience of being inside a glacier had a similar awe-inspiring effect on me.



The story of Fang in White Mountain, my second favourite Trespass (1970) track after The Knife, is an obvious snow-related story but is One for the Vine from Wind and Wuthering (1976), enough of a winter- or snow and ice themed song to count in my list? One of the songs being played at a restaurant where we stopped for a late morning chocolat chaud certainly doesn’t fit into the list but it did force me to reconsider my opinion of reggae. I’m obviously aware of the significance of Bob Marley who, after the demise of The Wailers in 1974 relocated to England and, with music infused with spirituality, became not only a multi-million selling artist and also came to symbolise Jamaican culture and identity, letting a ray of Caribbean sunshine into the world, but I don’t go out of my way to listen to reggae. What I heard that morning at Les Houches, played at decent volume through Bose speakers seemed like a long single track, divided into subsections rather like prog. A quick Shazam app search revealed that part of the song was Rastafari Leads the Way by Lutan Fyah and I suspect that the music was a Warrior Musick production Think Twice Riddim, featuring a host of different artists with an amazing, positive vibe; a rejection of violence and a call to rethink a way of life which chimed with the ethos of progressive rock. The sun was shining, the snow conditions were perfect and I was skiing some long and some challenging runs with my family, and a little bit of reggae made it even better.



Perfect skiing conditions at Les Houches
Perfect skiing conditions at Les Houches






By ProgBlog, Nov 21 2017 04:02PM

Last week was the latest ProgBlog adventure in Genova (and a couple of cities along the Italian Riviera.) Not only did I get to see four amazing bands on two separate nights, I also managed to add to my vinyl and CD collections with visits to Genova’s Black Widow Records and Jocks Team in Savona, at the La Claque night of prog, plus a couple of 180g vinyl re-releases bought from newsstands, part of a series of Prog Rock Italiano in association with publisher De Agostini.


Jocks Team, Savona
Jocks Team, Savona

The Progressive Night was held at the La Claque club and organised by Black Widow. Ancient Veil opened proceedings with an acoustic set from a pared-down line-up of Alessandro Serri on guitar, Edmondo Romano on woodwind and Fabio Serri on piano, plus contributions from special guest Marco Gnecco. The sound may have been pared down since I last saw them as a full electric band in May, but their compositions are well-suited to an unplugged format and apart from a couple of moments where Alessandro had to fight a little to find the right key to sing, on tracks where the vocals commenced the song without an instrumental introduction, it was a fine performance of some beautiful, folk-inspired music. I’m still getting into their latest release I Am Changing from earlier this year, so my favourite track was one of those I’m much more familiar with, the Eris Pluvia album title track Rings of Earthly Light.


Ticket for A Progressive Night, La Claque
Ticket for A Progressive Night, La Claque

Ancient Veil, unplugged 11-11-17
Ancient Veil, unplugged 11-11-17

I’d had a chat with Melting Clock keyboard player Sandro Amadei in the Black Widow shop (where else?) when I popped in to say hello and buy a few albums after arriving in the city on the Friday, and when I arrived at La Claque for the gig I spoke to most of the band and was pleased to see that they’d got lots of support from family and friends in a packed club. I was even given a small memento: a Melting Clock plectrum which had featured in a promotional poster for the evening. I was told that this was only their second ever gig as an ensemble, the first being the Porto Antico Prog Fest in the summer, and they suggested that although the atmosphere in La Claque was incredible, the sound check had uncovered a problem with feedback when vocalist Emanuela Vedana sang at full volume. This was in contrast to Porto Antico, a large, semi-open space where whatever first-gig nerves they may have had, they could really let rip. They need not have worried; the audience was won over with the first song, L'Occhio dello Sciacallo (The Jackal’s Eye) which followed a short instrumental introduction Quello che rimane (What Remains) and the club’s acoustics didn’t cause any problems. My personal favourite is Antares, a mini-masterpiece of carefully crafted modern symphonic progressive rock. Their self-penned compositions hint at 70’s Renaissance, albeit with a distinct Mediterranean flavour; the twin guitars of Simone Caffè and Stefano Amadei add extra depth while the rhythm section of Alessandro Bosca (sporting a new 6-string bass and matching tie!) and Francesco Fiorito contribute complex but well-thought out lines to pin down the music.


Their influences might surprise a few people, considering the songs they’ve covered. At Porto Antico they performed a sublime rendition of Firth of Fifth, at La Claque they played an incredibly accurate version of Soon, the hauntingly beautiful coda to Gates of Delirium from Relayer by Yes, producing one of those spine-tingling moments which made the hairs on my arms stand up, and ended their set with a crowd-pleasing performance of Time from Pink Floyd’s The Dark Side of the Moon. It turns out that Stefano and Francesco are into metal and Sandro likes Scandinavian jazz, though Simone is a David Gilmour fan. The mixture has somehow produced excellent results; their entire set was brilliant and heralds a very bright future.


Phoenix Again was the headline act of the evening. I met most of the band at the merchandise stand where I bought their three studio albums on CD; ThreeFour (2011), Look Out (2014) and Unexplored, released this year on the Black Widow Records label, and was very kindly presented with a T-shirt. From Brescia and originally called Phoenix when they formed in 1981 by Lorandi brothers Claudio (lead guitar, voices), Antonio (bass), Sergio (guitars) along with Silvano Silva (drums, percussion), they added keyboard player Emilio Rossi to expand their symphonic sound in 1986 but disbanded in 1998 without ever having produced an album. Following the death of Claudio in 2007 they revisited their music and, with the help of a number of guest musicians, released ThreeFour in 2011 under the moniker of Phoenix Again.

The current incarnation, first appearing on Look Out, is made up from original Phoenix members Antonio Lorandi, Sergio Lorandi (now taking on lead guitar and vocal duties) and Silvano Silva, plus two more of the Lorandi family, Marco (guitar) and Giorgio (percussion), and Andrea Piccinelli on keyboards. On record, their sound ranges from symphonic progressive to jazz rock, funk and experimental however, their live sound tends more towards the jazzy and has a much more urgent, hard edge which makes it come across as complex and intricate. I think I recognised the epic tune Adso da Melk from Look Out which includes a multitude of styles but has a section which reminds me of Camel’s Lunar Sea. The high energy set concluded with some banter between the audience and Marco Lorandi, who appeared to have been asked to pick out a particular tune or riff and this in turn gave way to a solo spot from Sergio who, as the crowd was dispersing, played beautiful renditions of first Steve Howe’s Mood for a Day (from Fragile) and then Steve Hackett’s Horizons from Foxtrot.


I stayed behind after the performances to speak to a number of the artists, congratulating Melting Clock on a magnificent show and getting introduced to local promoter Marina Montobbio who, it turns out, had been at the 2014 Prog Résiste festival in Soignies because of her work for The Watch who had headlined on the last evening. Resplendent in a pair of Gibson plectrum earrings, I’d seen her at Porto Antico taking photos of the different groups and also chatting to musicians, so I suspected she had some official role. Smart and knowledgeable, if I ever think about getting involved in promotion in the music business, she’d be top of the list of people to contact. It was a thoroughly enjoyable evening thanks to the musicians and the organisers and I can’t believe anyone could have left the venue feeling disappointed.



PFM ticket
PFM ticket

I’ve waited a long time to see PFM play live and stayed on in Genova for their appearance at the city’s premier venue, the Teatro Carlo Felice. With a boarded-over orchestra pit the septet seemed quite far away, even from row 12 in the stalls, but I soon found out that sole surviving original member and de facto front man Franz Di Cioccio was able to take full advantage of the empty space. I’d burned the Italian version of the CD of their new release Emotional Tattoos, which came with my English-version double vinyl, and listened to this the night before on my mp3 player in preparation for the concert; they began with Il Regno from that album, which I think is one of the best tracks. They then performed a string of early classics: La Luna Nuova (from L’Isola di Niente, the original version of Four Holes in the Ground for anyone without the Italian releases); a surprising English language inclusion, Photos of Ghosts; Il Banchetto which appears on the second album Per un Amico and also on the first of their Manticore LPs Photos of Ghosts; Dove... Quando... part 1 and part 2, from 1972’s Storia di un Minuto; and La Carrozza di Hans and Impressioni di Settembre (which would become the title track from The World Became the World) also from the debut record. If the performance had stopped at this point I’d have been completely satisfied because the songs and the playing had already exceeded my expectations; this is what I’d waited for. However, the show continued with two more of the best songs from Emotional Tattoos, La Danza degli Specchi and Freedom Square, before the band took a 10 minute break. They recommenced with the Celtic-influenced Quartiere Generale but then moved into territory I was unfamiliar with, Maestro della Voce from the 1980 album Suonare Suonare, one of the only PFM releases I don’t possess and which featured violinist and current member Lucio Fabbri for the first time. There is a version on PFM: In Classic but it's not a track I listen to. This was one of two tracks from the entire evening which I found unsatisfactory but that’s because Suonare Suonare is considered to be PFM’s equivalent of ...And Then There Were Three, the first post-Gabriel, post-Hackett Genesis album, the mark of decline from full-on progressive rock. Normal service was resumed following an introductory explanation to the next piece from Patrick Djivas, who pointed out the importance of classical composers to the PFM sound and they played Romeo e Giulietta: Danza dei Cavalieri which had been covered on their 2013 PFM: In Classic album. The classical theme continued with Mr. Nine Till Five appended with Five Till Nine including their version of Rossini’s William Tell Overture. They left the stage only to return in less than a minute, before the audience request for an encore had even started in earnest, recommencing with their version of the Fabrizio De André song Il Pescatore. This had particular relevance for Genova, because De André, regarded as Italy’s best ever singer-songwriter for his mix of Ligurian folk influences with social commentary, came from the city. De André shunned public performance until 1975 but his 1979 tour featured PFM as backing band and allowed them to choose the set list and make the instrumental arrangements. The crowd had been calling out suggestions for what to play and it came as no surprise that part of the encore was the old favourite È Festa (Celebration on Photos of Ghosts) which included an amusing drum duet between Di Cioccio and Roberto Gualdi and some audience participation, encouraged by the PFM front man who was bounding around the entire front stage area (splitting the hall into three sections to chant Se-le-Brescion, as this version of the song is known.) They left the stage to tumultuous applause and even though the house lights came on, the crowd applauded and called for more music and eventually, the band conceded and returned to play what I believe was the theme from the 1966 comedy film L’Armata Brancaleone, the energetic folk-inflected Branca Branca Branca Leon Leon Leon written by Carlo Rustichelli. This was lost on me at the time, though my fellow concert-goers absolutely loved it; it’s been in the PFM repertoire for some time and I found it interesting to note that Carlo Rustichelli’s son Paolo was also a composer, releasing the prog Italiano Opera Prima in 1973.


The vocals were primarily handled by Di Cioccio but some of the singing was by Alberto Bravin, who also added keyboards. The main keyboard player, accurately interpreting the early material, was Alessandro Scaglione and filling the shoes of Franco Mussida, who left the band in 2015, was Marco Sfogli. The line-up proved very adept and though there was no flautist, these lines were provided by keyboards; it might also have been good to hear something from Chocolate Kings or Jet Lag, the latter album being a vehicle to showcase Djivas’ excellent bass technique but when you think that they played for over two and a half hours, promoting their latest release but also entertaining us with all the old classics, it was impossible to walk away without thinking that sticking around in Genova for three extra nights had been a good cause for celebration.












By ProgBlog, Apr 17 2017 09:20AM

The scourge of anyone writing an essay is the charge of plagiarism and though I may have put personal academic involvement behind me, in a career that began pre-PC when my undergraduate essays were hand-written, I retain a professional training role and have a duty to check the work of a couple of my colleagues. The easiest way to avoid accusations of cheating is to use multiple sources, fully reference your work and include a comparative analysis as a summary to indicate your understanding of the subject. There are no shortcuts to essay writing when there is a multitude of plagiarism-checking software, free on the web, for use by both markers and students.

As an experiment, I ran the first 100 words of this article through Quetext which suggested I may have copied the sentence “The easiest way to avoid accusations of cheating is to use multiple sources, fully reference your work and include a comparative analysis as a summary to indicate your understanding of the subject” from a Wikipedia article on Fair Use! It may sound paranoid but I’ve written blogs and reviews on subjects that subsequently appear in Prog magazine where my phrasing and ideas, which I believe are characteristic of my personal style, have been included. There’s actually a rational explanation for this phenomenon: I mostly write about contemporary events, about artists touring or releasing material or appearing in the news for another reason, such as the support of Pink Floyd for the ‘Women’s boat to Gaza’; I’m writing about progressive rock so it’s likely to be something experienced by a fairly limited number of people who have similar expectations; our commentary will be largely based on audible and visual observations, though these may be perceived differently.

The feeling that just when you think you’ve come up with a great idea, somebody comes along and steals it took a further twist this week, following an article in the main section of The Guardian reporting that Ed Sheeran had settled out-of-court for $20 million after a plagiarism claim. My colleagues tend to tune into the radio at work, playing nothing that interests me and some things which really infuriate me (Sigala’s Sweet Lovin’, for example, which has undergone subtle mutations and is still being played as though it’s a current hit even though it originally came out in December 2015.) To my ears, a large number of pop songs are indistinguishable and this lack of musical diversity in pop music in general is a result of commoditisation, manufacturing and packaging which stifles creativity. The potential ground for borrowing the work of other song writers, particularly within dance music, gave me an idea for a blog and I emailed myself a few ideas and a rudimentary plan so I wouldn’t forget. Imagine my dismay when I opened G2 on Friday, with a front page headline “Has pop run out of tunes?” and a lengthy article inside the supplement by Peter Robinson The songs remain the same, dealing with the complexity of copying and plagiary.


The first time I noticed an obvious similarity between songs was not long after I’d seriously started to listen to music. Block Buster! by The Sweet (written by Nicky Chinn and Mike Chapman) was released in January 1973 and I thought that the main riff was heavily derivative of David Bowie’s The Jean Genie, released a couple of months before in November 1972; with fairly good reason, It transpires that the Jean Genie riff has itself been compared to The Yardbirds’ cover of Bo Diddley’s I’m a Man.

The mixture of influences on progressive rock make it an ideal genre to scour for appropriation, though in its nascent form the influences were far less likely to be other rock bands than from the jazz and classical worlds. Rondo on the debut album by The Nice, The Thoughts of Emerlist Davjack was a reworking of Dave Brubeck’s Blue Rondo à la Turk but, according to Martyn Hanson in Hang on to a Dream – The Story of The Nice, Immediate Records boss Andrew Oldham somehow managed to credit the band with the composition, but never explained how. The main difference between the two pieces was Brubeck had composed the piece in 9/8 time but the Nice played it in 4/4 but when I first heard the Nice version in 1972 or 1973, it was instantly obvious that they had lifted, wholesale, Brubeck’s piece. According to Hanson, the band had never considered claiming composition responsibility. Whether through naivety or by design, Keith Emerson would go on to have further issues with the lack of credit for other composers when he started ELP.



Peter Robinson’s G2 article touches on the legal arguments used to define plagiarism and it seems likely that a plaintiff will lose their case if they themselves have borrowed from a source that is out of copyright. This means that Emerson didn’t have to credit JS Bach for The Three Fates (on the first ELP album) even though he’d previously name-checked Bach, and other composers, on various Nice albums. When I eventually got around to buying Passio Secundum Mattheum by progressivo italiano band Latte e Miele and listened to the track Il Calvario it sounded like a note-for-note rendition of Emerson’s Clotho, indicating the original source.



Surprisingly enough, the next instance where I detected what I thought was undue influence was listening to Relayer at 12’47” into The Gates of Delirium, at the moment the battle sequence commences to resolve. At this point Patrick Moraz plays a lead synthesizer line that I thought was straight out of a Beatles song book but, when put into context where there’s so much going on in the Yes song, it’s obviously not The Beatles. At the time I was becoming aware of the spread of influence of the Fab Four and it didn’t seem such a ridiculous notion.

Robert Fripp famously made an out-of-court settlement over a plagiarism dispute with the producers of soft-core porn film Emmanuelle for misappropriation of Larks’ Tongues in Aspic (part II). There are at least three short pieces of music credited to Pierre Bachelet and Herve Roy that occur in the film, which are remarkably close to Fripp’s instrumental piece. A more recent example of possible copying a King Crimson song is on Astra’s 2009 release The Weirding, where the title track comes close to quoting from Cirkus on Lizard. Of course this may be accidental, but it’s evident the band are inspired by early Crimson because apart from the use of doom-laden Mellotron there is a great deal of Sinfield-like imagery in the lyrics: ‘All the blind sight kills the white light / Fire blood raven screams / Spreading influence through waking dreams / The world spins out of tune / And there's nothing we can do...’ and again: ‘Blindly follow twisted tales / It seems forever without fail / Cat's paws mind their fairy stories dear’. Kanye obviously got around any potential problem by including the appropriate credits to his song Power, which sampled 21st Century Schizoid Man.



The distinction between copying and source of inspiration may appear to be a grey area but, as Robinson points out, you can apply maths to the problem. In this way, based on pitch, rhythmic placement and harmonic context, you can make a statistical judgement whether two pieces of music are similar. The chances of two songs, independently written and sharing an identical 39-note sequence backed by similar chords and with the same rhythmic accentuation is really remote; this was the case with Sheeran’s Photograph and Amazing by Matt Cardle. Inspiration is something entirely different. Marillion used to be labelled a Genesis-clone and though the original members will no doubt admit that their music was informed by Genesis, and (ex-) vocalist Fish used to apply grease paint and, to a lesser extent don costumes for his adopted persona in the manner of Peter Gabriel, the similarity remained superficial. I’m more interested in Fish’s lyrics because he’s spoken of Peter Hammill as being one of the musicians who influenced him. Hammill recorded Flight from A Black Box in 1980 which includes the lines: ‘The lines on the road trail the arrow in the sky/ I search for the mote in my brother’s eye’ and four years later Fish penned the words to IncubusYou played this scene before, you played this scene before / I the mote in your eye, I the mote in your eye’. These are the only two lyrical references to a mote in an eye that I can think of but that doesn’t mean that Fish has copied Hammill.


There appear to be more cases of alleged plagiarism going to court than ever before, something I think is a reflection on the current state of the music business. I genuinely find it difficult to distinguish between many of the songs played on daytime radio, and find it even harder to like any of them. The idea of the music star and celebrity means that a record company has to invest in protecting the image of artists and the sum of $20m (£16m) was obviously worth it to Warner to ensure that Sheeran’s reputation and artistic integrity wasn’t too badly affected by alleged copying – unless the money came out of his own pocket. Such ridiculous sums of money spawn a culture of claims and that can’t be good for music, as money is diverted into the legal aspects of the industry rather than nurturing creativity. On the other hand, if it means we get less manufactured music, which stands more chance of accusations of copying, then that would be a great deal better.


There’s only one sure-fire way to avoid accusations of copying: cite your references.


Peter Robinson’s article appears here:

https://www.theguardian.com/music/2017/apr/13/has-pop-finally-run-out-of-tunes-ed-sheeran-plagiarism







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