ProgBlog

Welcome to the ProgBlog

 

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

By ProgBlog, Sep 12 2018 10:01PM

On a recent trip to my local retro-fashion and second-hand vinyl emporium Atomica, I bought a classic piece of 70’s electronica Timewind by Klaus Schulze and also picked up Kate Bush’s Lionheart from 1978. David and Nicky, who own Atomica, are into 60’s psyche and 70’s prog so, while I flicked through record sleeves and In the Court of the Crimson King was playing on a retro record deck, the conversation turned from Kate Bush sophistipop (their term) to the paucity of progressive rock in the 80s.

In common with some other commentators, I believe that the golden age of progressive rock ended in 1978, although that’s not to deny some good progressive rock music was produced afterwards; it’s simply that the industry and the market changed. Writing in a 2014 blog, I addressed what I called the ‘lean years for prog’ and referenced my gig diary; between Fairport Convention at Wimbledon Theatre in January 1985 and the unexpected but very welcome reunion of Anderson, Bruford, Wakeman and Howe who I witnessed at Wembley Area in October 1989, I attended only two gigs: John McLaughlin and Jonas Hellborg at the Fairfield Halls, Croydon in March 1987, and a resurrected Pink Floyd at Wembley Stadium in August 1988. It’s possible that the stunning presentation of the Floyd live show, complete with crash-diving Stuka bomber and evil flying pig reinvented the concert as rock music spectacular but from a personal perspective, it was the music that stood out. Their descent to mainstream rock (albeit with appropriate sentiment) covering parts of Animals, all of The Wall and The Final Cut was thrown into reverse with A Momentary Lapse of Reason which I’ve previously stated was a return to (progressive rock) form. Although I commented on what I was buying in lieu of prog I didn’t cover, and have never really written about, neo-prog.





The demise of progressive rock at the end of the 70s was inextricably linked to free market dogma, the predominant ideology at the time and one that was opposite to the counter-cultural beliefs that had inspired the movement. Punk may have briefly surfaced between 1976-8 as reaction to the perceived excesses of some of the established bands and musicians but it was quickly hijacked by the nascent publicity machinery, a major part of the UK’s replacement for a decimated manufacturing base.

Punk can be seen as a discontinuity (if you’ll forgive the geological pun); progressive rock was the dominant style in the preceding years and new wave would follow. For existing artists, moving away from prog was less a conscious decision and more of a drift towards conformity under pressure from a music business that was changing from an ethos of supporting artistic freedom (that somehow still managed to sell millions of albums) to one of commodity. Examples of record company interference might include the imposition of external producers to capture the immediacy of punk, or simply the insistence that a band produce a hit single or get dropped from the roster.

Punk may also have illustrated the bleakness of ordinary lives but in reaction, this readied the world for a bit of glamour: Fashion and music, the rise of style over substance. Fortunately, some of the next generation of musicians, those born in the late 50s and early 60s who had grown up listening to progressive rock, made a conscious decision to emulate these groups, sometimes injected with an attitude borrowed from punk or the fashion of post-punk. However, before the appearance of these neo-prog acts, King Crimson were making a reappearance as a cross between polyrhythmic progressive rock and new wave sophistipop, thanks to the inclusion of former Talking Head Adrian Belew in the line-up. The Discipline-era King Crimson lasted from 1981 to Sunday 12th July 1984, the morning after the last show of the Three of a Perfect Pair tour, during which time I managed to see them live on two occasions, the first as the pre-King Crimson Discipline.


Asia had also convened in 1981, releasing their eponymous debut album in March 1982. An easy target for critics, they were seen as yesterday’s musicians with nothing new to give but fortunately for the band, millions of ordinary members of the record-buying public disagreed and somehow Asia managed to ride the zeitgeist for a few years. At the time, I was happy to buy Asia without having heard a single bar of the music, simply based on the line-up. The end product was undoubtedly slick but it wasn’t progressive rock and I really wish they’d taken a different approach. Though it wasn’t terribly adventurous, the musicianship still manages to shine through despite this inability to challenge the listener. I also think the lyrical content conforms to the prevailing political climate of the time, where the subject matter is primarily about relationships, love, and sung in the first person. It’s inward-looking, what the world is doing to the singer, putting the individual at the centre. These were the new world values where the politics were far from progressive.


Out of some misplaced sense of loyalty I also bought the second Asia album Alpha when that came out in 1983 and a couple of months later handed over my cash for Yes' 90125. This proved to be a qualitative move away from classic Yes music, incorporating MTV- and radio-friendly tunes from which all traces of analogue keyboard had been eradicated. The shift towards more accessible music affected the existing Yes fan-base more than it did the fans of band members who made up Asia. Asia was a new band with no previously defined sound of its own whereas Yes had considerable history and, despite sometimes seismic personnel changes they had always maintained a particular world-view; 90125 is radically different, with a combination of guitar-heavy material from Trevor Rabin and Trevor Horn’s brash production. It may have become the best–selling Yes album but it divided existing Yes fans, with substantial numbers, like me, who could barely relate to the overtly commercial sound of a compressed sonic palette and what felt like a retrograde step towards generic 80s rock.

Yet hidden beneath the clamour created by the surprise continued success of some big names from the progressive rock genre, there were a few acts with a loyal live following struggling to get the attention of record labels, plying a music very closely related to classic 70’s progressive rock. My dalliance with neo-prog consisted of prevaricating about buying Marillion’s Script for a Jester’s Tear when it was first released in 1983, ‘Marillion’ being a shortened form of the band’s original name, Silmarillion, after the JRR Tolkien history of Middle Earth; buying the Garden Party 7” single (b/w Margaret) because it was cheap; recording a live radio broadcast of the Fugazi tour from Golddiggers in Chippenham in March 1984; buying the 12” single of Kayleigh b/w Lady Nina (extended version) sometime in 1985; and going to see The Enid with a variety of neo-prog support acts including Pendragon and Solstice at the Ace in Brixton on 11th May 1983.






The absence of column inches dedicated to my old favourites meant that I no longer regularly bought anything from the music press and therefore missed out on seeing the two best neo-prog bands, Marillion and IQ. Someone gave me a copy of Marillion in Words and Pictures by Carol Clerk for a birthday in the early 90s and around this time, when seconded to work in Saudi Arabia for a few weeks, I bought an unauthorised Marillion compilation on cassette. I reappraised the lack of Marillion in my collection in 2008 and got Misplaced Childhood on CD, and downloads of Script and Fugazi; having read sufficient good things about IQ and seen Martin Orford play in John Wetton’s band, I also bought a download of The Wake (1985) at the same time, and received the 30th anniversary Tales from the Lush Attic after that was released in 2013; I’ve since bought vinyl versions of Tales from the Lush Attic, The Wake, Script for a Jester’s Tear and bought a download of IQ’s Dark Matter (2004). Also, while looking for Spanish prog on holiday in Barcelona in 2010, I came across a second-hand copy of Pendragon’s Masquerade Overture (1996) in Impacto for €9.95.



Subsequent to my rediscovery of UK neo-prog, a trip to Milan earlier this year turned up a book about Italian prog, Rock Progressivo Italiano 1980-2013 by Massimo Salari (Arcana, 2018) which covers neo-prog and the 90’s progressive revival, quite different from the other progressivo Italiano books that tend to concentrate on music of the late 60s and 70s. My decision to buy Italian vinyl whilst visiting the country means I’ve unwittingly started to collect Italian music from the neo-prog era, the most prized being Ancient Afternoons (1990) by Ezra Winston, voted the best Italian album of the 90s by Prog Italia magazine, followed by Dopo l’Infinito (1988) by Nuovo Era and Heartquake (1988) by Leviathan, which were number 2 and number 7 respectively in Prog Italia’s Italian albums of the 80s – Ezra Winston were first with Myth of the Chrysavides from 1988.





One of the criticisms hurled at Marillion in particular, was that they were just a rehash of early 70’s Genesis. Fish’s predilection for greasepaint and costume changes must have added weight to that argument but it is actually guitarist Steve Rothery who comes across as being most influenced by Genesis with a playing style based on Steve Hackett and Dave Gilmour and Andy Latimer. It’s also well documented how much Gabriel-era Genesis influenced the Italian progressive rock bands but that influence also affects Italian neo-prog, with much of Ancient Afternoons referencing the pastoral charm of Trespass; however, both Heartquake and Dopo l’Infinito have a more modern sound, more akin to UK neo-prog than 70’s classic progressive rock. Perhaps it’s not so surprising that there are a number of different Marillion tribute acts in Italy – I saw Mr Punch perform an accurate recreation of Misplaced Childhood last year at the Porto Antico Prog Fest.




Another Italian band that I follow who came together during this time are Eris Pluvia. They released Rings of Earthly Light in 1991 and later reformed as Ancient Veil; both versions of the group, with Alessandro Serri and Edmondo Romano as core members, play a broader range of styles than Leviathan or Nuovo Era, demonstrated by jazz phrasing along with Serri’s Hackett-like guitar, and some very prog-folk moments thanks to Romano’s use of a full range of wind instruments.


My previous contention that the 80s was largely devoid of interesting music was totally misplaced. 70’s style progressive rock may have disappeared but both the industry and the market had changed when I didn’t. I was dimly aware that something was going on but declined to fully engage, spending my time and money seeking out albums to fill the gaps in my 70’s-centric collection, consequently missing out on a range of bands that I should have embraced. I do now.





By ProgBlog, Jan 23 2018 04:44PM

The limited edition CDs are being hand-numbered and I’m eagerly anticipating the postman bringing me my vinyl copy, gatefold sleeve and all, of debut album The Swan Song by Servants of Science, the Brighton-based crossover prog collective. I was invited to listen to a download of the music shortly after its digital release in early December last year and was suitably impressed by the whole project, from the cinematic opener Another Day which reminded me of dreamy 70s French prog masters Pulsar, to the epic Burning in the Cold which closes the album. Musically, the compositions most obviously reference Pink Floyd and Roger Waters’ solo material but there’s also more than a hint of arty 80s synthesizer pop bands, something which should appeal to anyone who likes Steven Wilson’s To the Bone. Lyrically, if you scratch the surface you find a layer of meaning apart from the obvious ‘destruction of the earth’, and perhaps this is also Floyd-related; an examination of mental health issues.


With an intelligent social media campaign to back up an amazing product, they've gained a lot of radio play across Europe and North America over the last month and generated a good deal of interest surrounding the release of the album. In the first ever ProgBlog interview, to coincide with the release of the physical editions I set Stuart Avis, the prime mover of the group, some questions about the new album, influences and about survival in the music business. To my gratitude, he’s provided some in-depth and insightful answers; I hope you find them interesting too.


The Swan Song by Servants of Science
The Swan Song by Servants of Science

Servants of Science play at The Prince Albert in Brighton on 21st April 2018

For details of live appearances see https://www.facebook.com/servantsofscience/



ProgBlog: Who are your favourite bands, who is your biggest musical influence and why?


Stuart Avis: I've always been drawn to bands that are sonically interesting, people that make albums that can still surprise you with something that you hadn't noticed before on the umpteenth listen. Bands like Pink Floyd, The Flaming Lips and Grandaddy are masters of the art, it's all in the details. Many of us know a record like Dark Side of the Moon inside out but, when you give it a listen on a pair of speakers or headphones that you've not used before you can never be 100% certain of what you're going to hear, that's pretty amazing. Growing up in the 80's I became a big fan of the pop music at the time as most pre-teens do, but the band that really stood out for me was Depeche Mode, they were at the forefront of sampling and crafted their own sounds. This was when sampling was extremely limited and not the quick fix lazy exercise it can often be today, you couldn't just lift a chunk of a song back then, you had just a few seconds to work with and use your initiative. They'd spend hours doing field recordings then effectively create new instruments with fragments of those recordings in a sampler. You'd hear sounds on a Depeche Mode record that had never been used before musically. I guess they were my way in to a lot of the music I would get into later, including prog due to them being one of the key pioneers of the 12" extended version, lapping up those 7 or 8 minute epic versions was a good primer for long form music outside of a typical song structure. My first musical love was Sparks, a band that have a lot more prog tendencies than people may realise. They're still my favourite band to this day, no one can pen a skewed pop song like Ron Mael, and their relentless drive to redefine what pop music can consist of always yields fascinating results.


PB: Brighton has a fantastic vibe and there’s some excellent countryside around with settlement going back to Neolithic times. Your debut album The Swan Song is about an astronaut witnessing the end of the world from space and the cover depicts The Joker pub at the bifurcation of Preston Road and Beaconsfield Road (the A23); what prompted that concept and do you draw any inspiration from the surrounding area?


SA: Oh absolutely! We're quite spoilt down here, where I live I can travel 5 minutes in one direction and be on the beach, or 5 minutes in the opposite direction and be in the countryside. Two roads that run parallel to each other can have completely different vibes, there's no end of inspiration. The idea for the cover came to me on the train home after recording the vocals for the album up in Nottingham last year. "The Swan Song" has two story lines running in tandem, the surface one with the astronaut witnessing the end of the world, but the album is also littered with references to a possible mental health condition such as schizophrenia, so, depending on how the listener wishes to interpret these clues this may all just be in someone's head as they're experiencing an episode of sorts. The image of the astronaut holding one of those "The end of the world is nigh" boards in a normal everyday setting seemed to capture both stories in one photo. The location became one of necessity. The story takes place in the summer, as set up with the radio samples and the "summer rain" references in the opening track "Another Day", but there was a delay with the spacesuit so we couldn't do the photoshoot until the end of November. The location was the last high street left in Brighton that didn't have Christmas decorations everywhere, this turned out to be quite fortuitous though as we ended up with a better shot than what I originally had in mind. The traffic lights all being on red was a nice bonus too, a signal to stop, they're very fitting with the themes in the album.



PB: Brighton has some great record stores and a variety of musical instrument suppliers. Do you shop locally for music and musical equipment?


SA: Far more than I should! Record shops are my Achilles heel, although I've tried to curtail my spending a bit over the last year, partly because I have a huge pile of records I still haven't played, and partly because I've been so involved with "The Swan Song". There are constantly gems to be found down here, Brighton's record shops can be a tad pricey compared to say, Nottingham, but once you get to know the owners, a little haggling helps things along. I own a studio called Black Bunker so I'm often having a wander around miscellaneous shops keeping an eye out for equipment bargains too and of course things that can benefit the band as well. It's worryingly easy to pop along the road for a packet of crisps and come back with a guitar amp.


PB: What was the last prog album you bought?


SA: That was FEAR by Marillion, to my eternal shame I arrived late to the party for this one and only got around to hearing it last November, my jaw hit the floor! I'm a massive fan of the Fish-era but never fully gelled with the Steve Hogarth material, when they hit the spot though they're amazing and everything on FEAR is amazing and then some! I lost track of them for one reason or another after Marbles but this has prompted me to fill in the gaps over the last decade or so since then, and I'm finding more treats that are making me kick myself for missing them first time around. Steve Rothery is as close as anyone can get to David Gilmour for feel, tone and sheer beauty of playing but still retains his own individuality without ever cloning, they're a super-talented bunch.


PB: Where is the best place to see a gig in Brighton and where is best to eat/drink beforehand?


SA: I guess my regular haunt for local bands is The Prince Albert, I'm very fond of the place. I've a good relationship with the venue and staff there, have known some of them since I was a kid and even played in bands with a few over the years so it's like a night out with mates even if I go alone. They do excellent food there too so you can kill two birds with one stone. We'll be playing there on April 21st with The Filthy Tongues, a band I've admired for nigh on 30 years in their original incarnation as Goodbye Mr MacKenzie and then Angelfish. The albatross that's forever circling over them is being the band that Shirley Manson was poached from for Garbage, but they're a fantastic band in their own right.


PB: Some of your own ideas have been worked on on-line and releases like Anderson-Stolt’s The Invention of Knowledge show technology has made long-distance collaboration no barrier to producing adventurous music. Would you like to collaborate with any other artist(s) and for what reasons?


SA: The internet is amazing for this; it's opened up a whole new world of possibilities. Many years ago I co-ordinated a couple of Pink Floyd tribute CD sets for a website called Neptune Pink Floyd. Pre-Facebook, Twitter etc internet forums were hugely popular, the NPF one was one of the biggest, if not the biggest, of Floyd ones. Many of the various forum members contributed songs either solo or recorded with their own bands, but one of the aims was to try and get the forum members to collaborate on covers wherever possible regardless of where they were in the world. I played keys on a version of Atom Heart Mother which also included a guitarist in Australia and a bass player in Ireland. The project may also be considered one version of the genesis of Servants of Science. Our vocalist Neil Beards submitted to me a couple of cover versions under the moniker The Amber Herd for the project. After we put out the CDs I organised a live Floyd tribute event in Brighton which lasted 10 hours inviting as many of the CD participants to perform as possible. Neil wanted to take part in the event so he put a band together to bring The Amber Herd to life which is still going strong to this day. On the day of the gig, I found myself in a bit of a jam when it became clear that neither of the people I was collaborating with could sing our opening number, "Welcome To The Machine", so Neil graciously stepped up to the plate, did a fantastic job and from there on a friendship was born and now, 12 years later, Servants of Science. Internet collaborations are such a wonderful opportunity for people; I guess the biggest success commercially of this ilk so far may well be the FFS project between Franz Ferdinand and Sparks. They wrote the whole album by sending files back and forth across continents via e-mail. Sparks are a band I'd love to collaborate with, that would be a childhood fantasy, but I'm happy to collaborate with anyone. I believe everyone has a musical ability, even if they don't believe it themselves, often those are the most rewarding and surprising ones. Obviously any of the members of Floyd would be a dream collaboration too. I pass David Gilmour's house almost every day on the way to the studio, once the physical copies of the album arrive I'll be popping one through his letterbox, nothing ventured as they say.


PB: You’re self-releasing a limited edition CD and a heavyweight vinyl edition of The Swan Song. What do you think of the state of the music business today and what challenges as an indie artist do you feel you have?


SA: It's making a steady return to health. After it fell on its arse with Napster, which no one seemed to know how to deal with, a lot of record labels turned into headless chickens then died and we lost a lot of record stores in the fall-out as sales dwindled, but, things are certainly on the up again. We'll never see a return to the kind of sales that ran from the 60s through to the 90s, the landscape has changed too much for that, but it's in a good place, even cassettes are making a return. The worst aspect now is probably the need for instant gratification, both from the labels and the consumer. It's not exactly new but fewer risks are being taken now and investment in bands and allowing them to grow is a much rarer occurrence today. Fortunately there are still a number of small maverick labels out there taking risks and their number appears to be growing, we're seeing a return to the punk DIY ethos thanks to the internet. Ironically, something that once nearly crippled the music industry is now serving as its saviour. I think the challenges have always been the same, trying to stand out in a crowd and offer something fresh and get that noticed, the main difference now is how you navigate the obstacles, social media is proving a great vehicle for that.


PB: What importance would you ascribe to social media for getting noticed and providing support for your projects?


SA: It's been a massive help for us. The opportunities the various social media platforms provide for artists to be heard is incredible, we're having this conversation now thanks to its virtues but, as these opportunities are, and quite rightly so, available to everyone, artists have become a needle in a different haystack. However, I do believe the pros far outweigh the cons if you're willing to put the time and effort in. We've been getting played a lot in Canada and the U.S. as well as a number of European territories within a month of putting our music out into the world. This is something we could have only dreamt about prior to the social media boom; it's put music in the hands of the artist and given them a chance to take control of their path. It's tough and the competition is fierce, but that's a healthy thing, it'll pay off if you work hard at it.


PB: What is your opinion on streaming?


SA: As a way of discovering new music and being heard by people that might not normally get to hear you it's invaluable. Streaming technology has opened a lot of doors with radio and video and generated new audiences, it's certainly expanded our reach immeasurably, the downside is it has also majorly contributed to the growing disposable nature of music for many too. It has had a massive effect on sales but in turn it has also generated sales for us which we wouldn't have received without streaming. I'm a traditionalist and prefer the physical format, which fortunately is experiencing something of a renaissance at the moment, and long may it last, but streaming is here to stay so I guess we have to adapt to it and focus on its benefits.


PB: What advice would you give for people thinking of getting into the business?


SA: Keep on keeping on, expect a lot of knock backs but remain positive and believe that each "no" is one step closer to the next "yes". Utilise the internet, it's full of opportunity, look up bands in a similar vein to yourselves, find radio stations, press and promoters that are following them and get in contact and build a database of the contacts too.


PB: Can you give us an idea of what Servants of Science has planned for the future?


SA: We'll be performing live and promoting "The Swan Song" for the foreseeable future. We're developing the live show at the moment which will feature the album in full and it's coming along spectacularly. We've got a great 6 piece band together that features many of the musicians that appear on the album, but rather than playing various instruments each, like we did on the record, we have dedicated roles for the live shows. I'll be sticking to just keyboards, Neil Beards is playing acoustic guitar and providing lead vocals, Andy Bay is playing bass, Helena Deluca is reprising her vocal role and adding some extra harmonies as well as playing rhythm guitar, Adam McKee is in his spiritual home behind the drum kit and Ian Brocken, who recently joined us, will be handling all the lead guitar parts and, if I may say so myself, it's all sounding fantastic! We're currently shooting footage for our backdrop film projections which we're also going to be putting out as a film of the album. On top of that we'll also be incorporating lighting into the shows too, and anything else we can get our hands on. The astronaut may even be joining us on our journey. After that we'll be embracing the challenge of the difficult second album…




Servants of Science
Servants of Science


By ProgBlog, Mar 26 2017 08:54PM

The latest edition of Prog magazine (Prog 75) arrived last week with a somewhat surprising cover story: The 100 Greatest Prog Anthems of All Time. Not only had I missed the call for voting but I wasn’t sure what readers were supposed to have voted for. It turns out that what they had asked for was our favourite track, and their feature was actually a list of ‘the 100 Greatest Prog Songs of all time’, also described as ‘pretty much the definitive list of prog songs old and new’. Not surprisingly, the Prog website anticipated the response to the published list; a byline predicting ‘feverish debate’.



As happy as I am to wade through a comprehensive list, knowing I’ll disagree with a good proportion of it (although in this instance I have 17 of the top 20 in my collection, just not in the same order of preference), I do think compiling lists is lazy journalism. However, I wouldn’t want to diminish the not inconsiderable task of compiling the list, as it’s likely that there were very large numbers of votes cast. The feature also includes some new insight into the making of some of the albums highlighted, such as David Cross providing background thoughts on King Crimson’s Larks’ Tongues in Aspic from 1973 and a decent-length interview with Steve Rothery.

My gripe isn’t with the list, although Close to the Edge should have been at number 1 instead of Supper’s Ready, not number 2, but with the magazine’s cover and headline. According to the on-line Oxford English Dictionary, the word ‘anthem’ derives from old English antefn or antifne, a composition sung antiphonally, itself a derivation from late Latin antiphona (see antiphon); the alternative spelling with ‘th’ was probably adopted in the 16th century. Whereas there’s a nationalistic connotation to anthems, solemn or patriotic songs officially adopted by a country as an expression of national identity, and a subtly different appropriation where a rousing or uplifting song becomes identified with a particular social grouping, political body or cause, I’m not convinced that what we now recognise as anthems have any place in progressive rock.

This may not always have been the case, as Aldo Tagliapietra, bassist from Le Orme, has described the use of ‘stereo’ choirs in the Basilica di San Marco in his native Venice. This is an example of an antiphon, a hymn or a psalm performed by two groups of singers chanting alternative sections like a call and response and whether you believe in a Christian God or not, progressive rock has roots in liturgical music.

Call and response isn’t limited to either church music or prog but forms an interesting device in narrative songs. Perhaps it’s not surprising that Genesis, with their moniker and background in Charterhouse public school (and public schools had strong church links; Charterhouse was founded by Thomas Sutton in 1611 and built on the site of the ruins of a Carthusian monastery) should employ multi-character vocal parts on a range of albums: Harold the Barrel from Nursery Cryme; Get ‘em Out by Friday (Foxtrot); The Battle of Epping Forest (Selling England by the Pound); Robbery Assault and Battery (A Trick of the Tail); and All in a Mouse’s Night (Wind and Wuthering). There are some examples where a call and the response aren’t vocal, the best of which are on Between Nothingness and Eternity by the Mahavishnu Orchestra; normally a duel, Mahavishnu use three lead instruments in fiery exchanges, interplay that hints at the difficult nature of the quest for spiritual enlightenment.



The common understanding of an anthem involves a short, distilled message, largely because this is the easiest way to get a message across, be it a patriotic call or an environmental protest. That’s not to say progressive rock can’t be used to highlight some ecological or political concern; Yes’ anti-war themes in Yours is no Disgrace and Starship Trooper and their use of ‘green language’, especially on Close to the Edge and Tales from Topographic Oceans embrace counter-cultural thinking but the message isn’t clear-cut, relying on a deeper engagement with the audience. On the other hand, Don’t Kill the Whale, although still not an anthem, is a direct call to humankind to respect sentience in another species which cynics thought was simply the group jumping on an environmental band-wagon, but in fact their musical philosophy pre-dates the realisation that we were hunting whales to extinction.


An anthem has to include vocals and, in the context of pop or rock music, not only requires a structure that invokes euphoric feelings, it has to serve as something that is closely associated with a particular band. It’s a sweeping generalisation to say that minor chords are gloomy and major chords are ‘bright’ but, apart from increasing the tempo (which gives a sense of urgency or striving) it’s possible to make a chord sequence sound more rousing by opening up the chord; taking the middle note of a triad and raising it by an octave. In terms of association with a group, sticking to a pre-existing structural verse, chorus, bridge formula helps a little, as does revisiting familiar lyrical tropes, but in a world where visuals are as dominant as sounds, subscribing to a group’s visual identity is also a helping factor. A tendency towards style over substance is more rock than prog rock which is why I’d include Asia’s Heat of the Moment in the anthemic class. It just seems to me that there’s a propensity for stadium AOR and heavy rock acts to churn out this sort of music, so that wearing the patch on your cut-down denim jacket becomes an emblem of belonging, waving devil-horn hand gestures and singing along with 50000 others who have lost their own individualism to bask in the enveloping identity of the group.

As a season ticket holder of many years at Crystal Palace I can see, and I’m very wary of mob behaviour. It’s no surprise that national anthems are sung at the beginning of international matches; the sub-text is that two teams are going into battle. At league level we wear the club shirt and sing and chant club anthems in lieu of violence and, for some die-hards, the result is everything, not simply entertainment. I’m a bit intimidated by this fervour and though I always want Palace to win, playing well and demonstrating cohesiveness is nearly as important as coming away with three points. I think that immersion in the mob, whether it’s at a sporting event or at a gig is a repudiation of your individuality, whereas progressive rock is about inclusivity while retaining individualism; a realisation that different cultural influences makes more interesting music, that diversity is to be celebrated.



I suspect that the Prog editorial team simply made a poor choice of words when it came to putting together the front page of the magazine, which leaves us with the question: Are there really any prog anthems? I may go to gigs and sing to myself, sometimes with my eyes closed like some old dope, but I don’t like a singalong or to be encouraged to clap along to a piece of music because it interferes with my appreciation of what is being played. I suppose these moments get as close as anything to being anthemic but the complexity of the music normally brings audience participation to a premature close. The use of encores, playing well known and appreciated tunes, kind of fills the requirement for an anthem without necessarily being anthemic. Heat of the Moment, the culmination of John Wetton’s search for commercial success while retaining a relatively high degree of musicality would fit the bill, but stomping out verse-chorus-verse-chorus isn’t really prog.

If there was a Yes anthem it would be I’ve seen All Good People. Not surprisingly, I’m least disposed towards it out of all the songs on The Yes Album because the All Good People section comes close to straightforward rock. It remains a live favourite however, the second most played song by the band, where it frequently appears as an encore and audience clapping is encouraged. The most played tune is Roundabout which, despite the success brought about by the truncation into a radio-friendly single, chops and changes too many times to be an anthem.


The answer lies with Emerson, Lake and Palmer who covered the William Blake / Hubert Parry Jerusalem. This may seem like a return to the theme of church music, or even the idea of a national anthem but Blake has also been appropriated by a wide range of people who recognise a spirit of utopianism in his writing. Rugby fans may bellow out the hymn in an effort to galvanise their team while right-wing commentators remind them that perhaps Blake wasn’t quite as patriotic as they thought; rationalists like Dawkins and Bronowski and Marxists like EP Thompson have sided with him; he inspired Gordon Giltrap’s excellent prog-folk Visionary. His Complete Works was the first book of poetry I ever bought. It may be the Elgar’s orchestration of the hymn provides much of the uplifting feel but the ELP version, with Greg Lake’s clear voice ringing through, is a call to all followers of progressive rock.







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.







fb The blogs twitter logo HRH Prog 4 Line Up (F+B) Keith Emerson at the Barbican My Own Time