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ProgBlog goes on a successful mission to Amsterdam to seek out vinyl in some of the city's 30 independent record stores.

Armed with two canvas record bags (and emerging with a nice new Record Mania bag) plus a short hit list of Dutch prog, 14 albums were acquired in 48 hours...

By ProgBlog, Dec 25 2018 10:15PM

There were a couple of articles in the Guardian newspaper earlier this month (December 8th, 2018) that hinted of prog. The first was a piece by Alexis Petridis in The Guide listings supplement ‘I hate playing this song’: When rock stars go disco www.theguardian.com/music/2018/dec/08/noel-gallagher-rod-stewart-beach-boys-when-rock-stars-go-disco which was prompted by Noel Gallagher’s recent announcement that his next album would have a ‘70’s disco feel’ but developed into a history of rock musicians who attempted to harness the commercial benefits of the disco genre, some of whom created deeply regrettable releases when they should have known better. From a prog perspective, the article cites a version of Gershwin’s Rhapsody in Blue recorded for Rick Wakeman’s 1979 double LP Rhapsodies and Jethro Tull’s Warm Sporran, an instrumental from 1979’s Stormwatch released as a single backed with the David Palmer-penned Elegy, the only other instrumental on the album. The inclusion of Warm Sporran by Petridis is a little controversial when you consider some of the other contenders who didn’t make his list; yes, there are moments where you can detect a beat that might not seem out of place at a late 70’s disco but the composition is overwhelming a piece of folk rock, simply infused with a little bit of funk. This is one of the tracks where Ian Anderson plays bass, John Glascock having stepped down from involvement in recording due to deteriorating health even though he’d only just returned to the fold after his initial illness. It’s clear that drummer Barrie Barlow and Anderson formed a cohesive rhythm section, unsurprisingly not too dissimilar to the Barlow-Glascock pairing, but Barlow has suggested that Anderson recorded his bass parts too loud. Despite its autumn release, the front cover image of a hooded and mitted Ian Anderson figure sporting a snow-flecked beard, together with the badly drawn polar bear on the rear has always suggested to me that Stormwatch is a ‘winter’ album, so somehow its mention in an article in December seems quite fitting.



Giving a song the title of Warm Sporran also seems to imply winter, as protection (for something) against the cold. In my opinion the rhythmic diversity of Warm Sporran separates it from disco music although I don’t believe that same can be said of Another Brick in the Wall (part 2), absent from Petridis’ article but which, according to Gilmour, was turned into a disco single by Bob Ezrin after the producer had suggested that the band check out what was happening in clubs. Despite misgivings, describing Pink Floyd as a band that didn’t release singles, they recorded a version of Another Brick in the Wall with a four-to-the-bar bass drum part which was subsequently edited into a hit, reaching the number 1 spot in the UK singles chart almost exactly 39 years ago. The members of Pink Floyd are unlikely to regret the recording of Another Brick in the Wall but I have always felt, however good Waters’ concept, the music had declined in standard from a peak of the Dark Side of the Moon and Wish You Were Here eras to something that was no longer progressive rock; a result of a less collaborative approach to writing.

Ignoring glaring omissions and forgiving inappropriate inclusions, Petridis’ coverage of Rhapsodies is fully warranted. Following the progressive rock of solo albums White Rock and Criminal Record (both released 1977) and Tormato (1978) with Yes, Wakeman remained in Switzerland and put together Rhapsodies, produced by Tony Visconti, before band rehearsals for a follow-up to Tormato began (and ended with Wakeman and Jon Anderson leaving.) One of my friends bought it at the time of its release when I heard it in its entirety for the first and only time. Wakeman has said that A&M exerted considerable influence over the content and imposed Visconti as an external producer. Fortunately, Wakeman and Visconti got on well but the range of styles covered on the LP created something of a mess. On reflection, the album is full of Wakeman humour and amazing playing, albeit with a more uniform sonic palette than on his earlier solo material; anyone who has witnessed a Wakeman one-man show mixing music with his raconteur persona will understand the genesis of Rhapsodies. However, I’ve found it difficult to get beyond the cover of the album and as much as I like subtle or subversive comedy, I prefer my prog to be serious. The disco beat Rhapsody in Blue, included on the wishes of his record company and arranged by Visconti might be a joke but it’s certainly lost on me; I suppose that the album cover is also fitting for an article about music appearing in December.


The other Guardian article was Lyric poetry by the novelist David Mitchell which appeared in the Review supplement, about his ‘decades of Kate Bush fandom and the songs that have been the soundtrack to 'his life and work’. I read this with interest because when Bush hit the airwaves in January 1978 with Wuthering Heights, it was immediately obvious she stood apart from the usual suspects you’d hear on UK pop radio stations or see on BBC TV’s Top of the Pops and I immediately became a fan. There were a number of intriguing things about her, from the Emily Brontë literary reference which I’d thought was a progressive rock trait, to the story of her ‘discovery’ by Pink Floyd guitarist David Gilmour, and her performance of Wuthering Heights on TV was certainly something of a revelation. At the time, the sobriquets ‘sophistipop’ and ‘pop-prog’ had not been coined but that was the style she was developing. My dose of Kate Bush was delivered via the jukeboxes of the pubs we used to frequent; one that is indelibly etched in my memory was at the New Commercial Inn at Newton, a brisk half hour walk from home via the ascent of Yarlside, a site of former haematite mining littered with industrial relics and pock-marked with collapsed shaft entrances. Other hazards included cow pats but the effort was rewarded with well-kept beer, a log fire in winter, and Wuthering Heights.


When I moved to London to study at Goldsmiths’ College later that year, Kate Bush was in residence at 44 Wickham Road, Brockley, which happened to be very close to one of Goldsmiths’ halls of residence. I moved out of halls in my third year, sharing a flat with my friend Jim and a friend from my Barrow school days, Eric Whitton, who owned the three Kate Bush albums available at the time: The Kick Inside, Lionheart and Never for Ever. My first Kate Bush album was The Whole Story, a compilation from 1986 which covered the essential singles including my personal favourite Breathing, largely for John Giblin’s brilliant fretless bass (I was listening to a lot of Brand X at the time) although the video for the song was totally captivating and the anti-nuclear war message was something that I related to. Bush herself described the song as her ‘little symphony’ and I’ve always admired the way it was constructed, borrowing a page from the Pink Floyd song-writing book and getting label-mate Roy Harper to help out, adding spoken words from the UK government’s Protect and Survive public information leaflet. With a running time of 5’ 30” on Never for Ever (the single was a little shorter), this might not be her longest song but it certainly pushed the boundaries of conventional pop. Apparently I have a first pressing of The Whole Story, indicated by the stated release date of Wuthering Heights which it cites on the inner gatefold as being November 4th 1977, when it was actually James and the Cold Gun, originally selected as Bush’s first single which had been scheduled to be released on that date. Wuthering Heights, Bush’s preferred initial release, finally came out on January 20th 1978.


Along with sometime collaborator Peter Gabriel she was a prime exponent of the Fairlight CMI, marking her out as an innovator. In fact, every release held something of interest and, as David Mitchell suggests in the Guardian article, her lyrics have become progressively more mature and the imagery more challenging. It’s not really surprising that she gets associated with prog with her choice of collaborators and approach to music but as the first woman to have a self-penned song reach number one in the UK singles chart and later the first female solo artist to top the UK album charts, with Never for Ever, she was genuinely progressive and has acted as an inspiration for a number of women in the current prog scene. The length of time between album releases was something of a concern for some of her fans, especially John Mendelssohn, whose 2004 novel Waiting for Kate Bush mixed real-life and fiction, screwed up some facts and was comprehensively panned by amateur critics. I read some of the book when I was thinking of buying it as a present but I’d encourage anyone tempted to leave it well alone.



I didn’t actually buy any Kate Bush albums after The Whole Story until the early 90s, when I was in Jersey on a family holiday and picked up The Sensual World (1989) on CD. It’s only in the last couple of years that I’ve started to buy second-hand copies of the original releases on vinyl, having also bought downloads of both The Kick Inside and The Hounds of Love in 2014.


Thanks to The Guardian, Alexis Petridis and David Mitchell for providing some prog- and prog-related coverage.











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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