By ProgBlog, Aug 23 2015 09:38PM
August in the south eastern corner of the UK has been quite poor in terms of weather this year, with unseasonal downpours following a series of Atlantic depressions that have tracked across the country. This weekend we experienced a ‘Spanish plume’, a condition that arises from a large southwards dip in the high altitude jet stream that developed to the west of Europe that in turn encouraged a deep southerly wind flow that pushed hot and humid air from Portugal and Spain north and north-east into northern Europe, including to us the UK. Temperatures at Selhurst Park for Crystal Palace vs. Aston Villa peaked at over 30oC prompting the first water breaks in a Premier League fixture. With a cold front from the Atlantic over the north of the UK and unstable, hot air pushing up from the south or south west, there was the potential for heavy thunderstorms where the two weather systems met; strong winds associated with the jet stream help organise thunderstorms and play a part in their severity. This latest forecast came with a degree of uncertainty, something that’s become increasingly prevalent in our televised weather bulletins where over the last couple of weeks the prediction for the next day has inevitably proved to be inaccurate.
It seems that the British like talking about the weather. It serves as a common topic when individuals are thrust into a situation where it’s uncomfortable not to talk. It helps that UK weather so changeable and unpredictable, part of the beauty of living in a temperate marine climate; it also gives us the right to moan. As a youth in the North West I became used to rain. The relief rainfall that was a major feature of the western Lake District didn’t really affect Barrow very much but moisture-laden air from the Atlantic had a habit of dampening our plans one way or another. I was very much at home when I stayed in Seattle for a week in 2002 where there were a number of dedicated, accurate weather channels on the TV.
Weather may seem a bit prosaic as a topic for prog but weather and the British go together like tea and crumpets. After a childhood in Barrow I feel as though I’ve got fifty words for rain... In fact, the water cycle and our understanding of the principles of weather processes, such as drought, flood or monsoon, is very much the stuff of prog. Furthermore, the ability of humankind to distort weather patterns through extracting and burning hydrocarbons and the detrimental effect of pumping CO2 and other greenhouse gasses into the atmosphere is something that the adherents of the counterculture warned us about; the origins of the progressive rock movement had strong links to environmental groups. So it comes as a bit of a surprise that there’s no definitive album about the physical geography of weather or its myriad facets, just a straightforward interpretation.
Jethro Tull’s Stormwatch (1979) may come closest to revisiting the old hippie theme of global environmental disaster and a form of gloom pervades the entire album. Largely referred to as the third and final part of the Tull folk-rock phase, when I listened to the album recently I didn’t think there was much folk to detect; there’s a reference to pre-Christian themes (on Dun Ringill) which might fit the tag but it’s more an association of convenience, marking the last of the stable Tull line-ups. Stormwatch uses the concept of a storm as both metaphor and as literal description, picking up from a theme in the title track of Heavy Horses (1978) where Ian Anderson predicts that the magnificent beasts will be required once more when the oil has run out; North Sea Oil recognises the commodity as a quick fix for the economy and one that wasn’t going to last. Dark Ages and Something’s on the Move hint at energy shortages and long, cold winters and subsequent rioting while Flying Dutchman bemoans our inability as a nation to accept immigrants. In a recent Prog magazine interview, Anderson admitted to being politically left of centre; Stormwatch was released in September 1979 at the tail end of the first era of progressive rock; the political and social landscape was changing with the election of Margaret Thatcher as Prime Minister four months earlier as she commenced the dismantlement of the state and used burgeoning oil revenues to fuel her rewards for the selfish (North Sea oil had come on stream in 1975.) The dark mood of the album was no doubt partly down to the illness of bassist John Glascock who died two months after its release, having only played on three of the tracks. Though the (David Palmer) penned track Elegy was written for Palmer’s father, at the time the only section remaining of the Anderson/Palmer/Barre ballet The Water’s Edge, I felt it also served as a tribute to Glascock.
Camel’s Rain Dances (1977) isn’t weather-related. The short, melodic instrumental title track that closes the album doesn’t call to mind rain but merely reprises the beautiful, melodic opener, First Light and could be called anything because the album doesn’t have any cohesive concept; at least the title track from Gryphon’s Raindance (1975) which begins and ends with the sounds of rain and thunder has a keyboard backing under the main melody line that is reminiscent of flowing water and the album’s cover depicts the effects of playing the record.
The strong Red Rain from Peter Gabriel’s So (1986) is supposed to have been inspired by a terrifying dream. Some ascribe the imagery to acid rainfall (Gabriel is well known for his environmental concerns, appearing at the People's Climate March in London last September) but it seems to me to be about the nightmare of genocide; a number of African nations were in the throes of civil war in the early – mid 80s including Sudan, Democratic Republic of the Congo and Ethiopia. Rain is represented on this track by hi-hat, played by ex-Curved Air drummer Stewart Copeland. More up-to-date, Anathema’s prog metal-lite Weather Systems (2012) is full of nice melodic touches and contains some interesting sonic experimentation and passages that remind me of Porcupine Tree but despite its title, the album only uses weather as a metaphor for events during a life.
I think some band should attempt a concept album based on the science of meteorology, whether it’s a series of interpretations of particular examples (think Wakeman’s Six Wives of Henry VIII.) Fabio Zuffanti’s Hostsonaten project covers some of this ground on the excellent symphonic prog Winterthrough (2008) with tracks called Snowstorm and Rainsuite but I still believe classic British prog bands missed out on an easy topic with a captive audience.