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ProgBlog goes to the Biennale Architettura 2018 in Venice but still manages to find prog connections - and a relatively new record store...

By ProgBlog, Jun 28 2017 08:50AM

There’s a great deal to be said for being open-minded, the willingness to try different things, because it’s a wide world and being able to see someone else’s point of view helps us to build bridges and overcome divisions in society. Past experience invariably influences present and future choices, for either good or bad, but forming impressions of the widest possible range of stimuli is most likely to be a positive force. Genetics obviously plays a role in how we react to events but the molecular mechanisms are nothing when compared to environmental impact: Jazz was the predominant musical form in the house I grew up in but after hearing Close to the Edge I quickly found friends who liked the same sort of music and whether or not I was still happy to listen to my father’s jazz recordings, being of an age where you could choose to buy whichever records you wanted was a crucial part of adolescence.



Practitioners of progressive rock, appropriating bits and pieces from a multitude of sources, should really be regarded as exemplars of open-mindedness and, in keeping with the lofty ideals of the late 60s and early 70s, they took it upon themselves to end the cultural hegemony of the upper and middle classes through popularising classical music by amalgamating it with rock and jazz and other idioms. Progressive rock wasideally placed to carry out this change as it was by-and-large looked upon as a movement promulgated by the middle class with exponents such as the Charterhouse alumni making up Genesis being an exception at one end of the social scale, and Jon Anderson from Lancashire mill town Accrington at the other end of the ladder. This emancipation of the romantic European musical form was in keeping with the countercultural zeitgeist and could be viewed as reaching out to disparate tribes by embracing differences.

I jumped from not being interested in rock music to being intrigued by Roxy Music to being a dedicated prog-head in just a couple of months. I carried on watching Top of the Pops and remained friends with school mates who liked Slade or T Rex but around the age of 13 or 14 and certainly by 15, most people were forming a distinction between pop and rock and leaving pop behind though there were musicians I had begun to admire who used the pop idiom for one reason or another; Robert Wyatt with I’m a Believer springs to mind... At the height of the golden era of progressive rock bands still eschewed singles but by 1976, following the hiatus in studio recording by a number of the big-league players, the music industry had become more hard-nosed and the labels required their acts to generate money by writing hit singles. Adjusting to produce something specifically for this market may have been tricky enough if you were used to taking ten minutes or more to get your ideas across to the listener but the difficulty was exacerbated by a far more sophisticated competition.



The announcement of the forthcoming Steven Wilson album To the Bone has been greeted with keen anticipation from fans. As much as I like Hand.Cannot.Erase I got into Wilson’s music via the rebooted 70s prog of The Raven that Refused to Sing, rather than the more narrow sound of Porcupine Tree. H.C.E strays from the original progressive rock blueprint and takes in electronica and post-rock and the result is another great record, but it’s not really prog. This is simply an observation and, in the overall scheme of things, it doesn’t matter but with videos available for three tracks from To the Bone, it can be seen as part of a trajectory towards what Wilson himself describes as ‘progressive pop’. While this refusal to stand still is in principle a good thing, the (give or take) five minute length of the previewed tracks doesn’t provide enough scope for development, although there is the promise of 9’20 of Detonation. From the examples available to the general public and from comments he’s posted on his website, it seems that the territory he’s now occupying is similar to that of more of the music he liked as a youth; Peter Gabriel’s So, Kate Bush’s Hounds of Love, and Tears for Fears’ Seeds of Love, pop music which had a degree of depth. I’m a recent convert to Hounds of Love for The Ninth Wave suite which makes up the entire second side of the original LP though I’ve followed her career with interest since she first hit the airwaves with Wuthering Heights in 1978. Like Wilson, I also appreciate the Kate Bush – Peter Gabriel partnership probably best known for Don’t Give Up but which started six years earlier on No Self Control from Peter Gabriel III, a far more prog-sounding track; Bush and Gabriel also shared an interest in sonic innovation and were at the vanguard of the Fairlight CMI revolution. It could be argued that Gabriel’s solo output wasn’t really prog but it is undeniable that his method, if not all of his songs, conform to the overall prog scheme.


Wilson’s musical taste is suitably diverse, as indicated by his playlists and the two-song singles that were compiled for his 2014 album Cover Version; six original pieces paired with six cover versions of songs by Alanis Morissette, Abba, The Cure, Momus, Prince and Donovan (though The Unquiet Grave is a 15th Century folk song interpreted by Wilson.) He was even sporting an Abba T-shirt when I saw him on the second of the two Royal Albert Hall gigs in September 2015 though I can’t think of any redeeming features of Sweden’s number one musical export.



The nearest I get to a guilty musical pleasure is sharing record storage space with my wife’s Fleetwood Mac, Marvin Gaye, Meatloaf, Robert Palmer, Chris Rea, Simon and Garfunkel and Bruce Springsteen – she has her own CD storage - and though I often have to grit my teeth when I buy her music as a present, it’s somewhat unfair on her that she gets streams of prog-related recommendations. Fortunately, Susan occasionally finds something she likes which might fit into the ‘progressive pop’ category, such as Gotye’s Making Mirrors or S. Carey’s chamber-pop Range of Light.

There was a time when I owned Anita Ward’s 45 rpm single Ring My Bell and although it features early syndrum and I can still sing along with it, this was never intended as a serious purchase; after suggesting I was going to buy it, I had to go along with the joke but it did only cost 50p. I have a pristine copy of Bryan Ferry’s Boys and Girls (Our Price, £5.29) bought along with Sting’s Dream of the Blue Turtles which were released two days apart in June 1985, neither of which fits in particularly well with the rest of my collection though David Gilmour ad Tony Levin feature alongside Ferry and Sting quotes from Prokofiev on Russians. It’s interesting to note that the drums on both albums are performed by Omar Hakim which fits in very nicely with Sting’s jazz-lite and might have been responsible for some subliminal appreciation of Boys and Girls.



Another pop-rock album which sits between my Endless River and Storia di un Minuto LPs is Every Breath You Take: The Singles, part of my leaving present from my first workplace but which was sanctioned by me. I didn’t like the early Police material but two-thirds of the group had decent prog connections (Stewart Copeland – Curved Air; Andy Summers – Dantalian’s Chariot; Soft Machine; Robert Fripp) and the songs on later albums Ghost in the Machine and Synchronicity showed a high degree of sophistication. The first CD I bought was actually Nothing Like the Sun but Richer Sounds wasn’t really a place to buy recorded music – I just needed a CD to play on my newly acquired Yamaha CD player – and Sting was the least offensive artist available. I’ve still got it.



No one should have any guilt about the music in their collection. We buy and listen to the music we like, however broad or narrow our predilections. I applaud the broad-minded, but when it comes to music, my collection hardly encompasses anything other than progressive rock (in its myriad forms), jazz and a bit of classical; my taste is somewhat narrow.










By ProgBlog, Sep 27 2015 09:00PM

I hate cardboard. I dislike cardboard with such a burning intensity it’s taking over my life. Let me put that in context: I hate cardboard packaging as much as I love order; record collections should be organised alphabetically by band and sub-divided by year. It’s pointless trying to organise a collection by genre when progressive rock encompasses such a broad spectrum of types from proto-prog and rock with progressive leanings through psychedelia and symphonic prog to jazz rock and RIO; my classical albums are also included within this single alphabet.

The cardboard in question is packaging for bits of flat pack furniture (which I detest with a greater passion because it means I’ve got to assemble it) and a couple of pieces of solid wood furniture that weigh around 40kg each (imagine the size of the boxes!) Add to that the box that the new TV came in, the Blu Ray player box and even the box for the aerial... The inner glow that I normally get from recycling has been extinguished by repeated treks to the local recycling facility. It’s not far to walk but they were all awkward to carry. If I were to visit a metaphorical psychiatrist’s couch, I think I’d find the built-up resentment directed at a lack of prog. The past five weeks have been chaotic in the Page household with a new front door, new double glazing, the living room and dining room being decorated throughout including a new carpet and a new fireplace; my LPs and CDs have been put into temporary storage in the back bedroom leaving a handful of accessible CDs, The Elements 2015 Tour Box that I picked up from the King Crimson gig on September 7th and birthday presents from the beginning of September – Merlin Atmos (2015) by Van der Graaf Generator; Petali di Fuoco (2010) by La Maschera di Cera; PFM's Chocolate Kings (re-issued, 2010 with a bonus CD); Earth and Fire’s debut album (1970); and Hatfield and the North Access All Areas (2015) but it’s not just the media that has been boxed up, my hi-fi is in bits waiting for some shelves to be fitted in the dining room and my record deck has been sent to a good home, leaving me waiting to visit Billy Vee Sound Systems in Lee to replace it with its bigger brother, a Rega Planar 3. I had been computer-less too, for a couple of weeks during the decorating and though it’s been set up again, I haven’t connected any peripherals. What I have done is connect my Technics VC4 hi-fi amplifier to the line out on the PC so I can sit in my Barcelona chair and listen to CDs or digital files on my headphones; plugging headphones directly into the PC won’t work because part of a 3.5 mm to 6.35 mm jack converter is stuck in the headphones socket. I think that’s an entirely reasonable explanation for my cardboard-phobia.

There is some cardboard that I like. I bought the new Blu Ray player from Richer Sounds and took the opportunity to try out some potential replacement speakers for my KEF C10s; I took along my copy of Fragile and played Roundabout on a Project Debut Carbon Esprit SB turntable fitted with an Ortofon 2M Red cartridge, trough a Cambridge amp and Monitor Audio Bronze BX6 speakers, then through Monitor Audio MR4 speakers. The BX6s produced a slightly clinical sound; there was good separation in the treble range but Chris Squire’s bass, though clear, lacked warmth. The MR4s were the opposite with less distinct treble and a rounded, more natural bass. It was good to open out the gatefold sleeve and not worry about cranking up the sound in the demonstration room, though the volume control on the Cambridge was a little flabby, with much turning and only gradual increase in volume. I had wondered which album to take with me to demo. It had to be something that was familiar and something that contained a wide dynamic range. I chose Fragile over Close to the Edge because CttE is more full-on than its predecessor; there aren’t many gaps in the music. I also took along Larks’ Tongues in Aspic but I’d parked on a meter and ran out of time to try out any more systems.

Returning to central Croydon and a trip to HMV, ostensibly to look at 3D Blu Ray discs, I noticed a display of Pink Floyd CDs alongside David Gilmour’s new release Rattle That Lock. I used to think HMV’s pricing of Floyd albums was prohibitively high – this was when I was looking to replace my vinyl with CDs, before their financial problems – but the full range of early Floyd CDs, in cardboard mini sleeves, was available for less than £8 each. If it wasn’t for the fact that I have a nicely packaged 20th anniversary Dark Side of the Moon box and the 1994 series of remastered and repackaged Atom Heart Mother, Meddle, Wish You Were Here and Animals I may have been more temped to buy them. I’d seen this range before, on holiday in Italy where they sell for the Euro equivalent of the Sterling price in HMV, a genuine bargain; if I couldn’t be tempted to indulge myself at that price, I wasn’t going to give in and buy them over here, however attractive their retro-look packaging. Nevertheless, if there’s a choice of jewel case or mini-album CD on a piece of music I don’t have in my collection, I’d go for the mini-album every time. My first gatefold CD sleeve was a copy of In the Court of the Crimson King and I attempted to acquire as much remastered Crimson as possible in cardboard. Italian label BTF have reissued a wide range of progressivo Italiano in cardboard sleeves and my only Japanese imports, Robert John Godfrey’s Fall of Hyperion (1973) and Things to Come (1974) by Seventh Wave are in single cardboard sleeves; I noticed a bargain range of jazz and fusion CDs in single cardboard sleeves on the counter at Red Eye Records in Sydney when I was visiting my son Daryl in 2012, and added Mysterious Traveller (1974) by Weather Report to my purchases. When he returned to the UK he brought me some Australian prog, A Tower of Silence (2012) by Anubis, in a cardboard sleeve.

Another reason I wasn’t tempted by this feast of Floyd in HMV was a 180g vinyl special edition Dark Side, crowning the display; if I’m going for cardboard sleeves, I’m going to wait until I get my new turntable and go for full size LP sleeves, reinvesting in vinyl copies. Some cardboard isn’t bad...



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