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Is there rivaly between progressive rock bands or is the genre like an extended happy family?

ProgBlog investigates...

By ProgBlog, Jul 2 2018 04:39PM

One of my recent purchases, on a short trip out to Crystal Palace, was a £1 copy of Short Stories (1980) by Jon and Vangelis, from Bambinos in Church Road. I’d been told that this album, the debut full-length release from the duo, was quite good, but never having heard anything from it other than the single I Hear You Now, I was only really interested in it as a curio, being a fan of both Jon Anderson and Vangelis. There are moments which are reminiscent of Anderson’s solo album Olias of Sunhillow (1976), which some say has the stamp of Vangelis over it, plus plenty of vintage Vangelis soundtrack electronica. What took me by surprise was the first track Curious Electric, not because of its portentous Blade Runner-like opening bars, but the unexpected strangeness of the vocal section, with Anderson getting round to introducing the concept of ‘short stories’ after telling us he was “...sitting it out Watching "Match of the Day..."


Jon and Vangelis - Short Stories
Jon and Vangelis - Short Stories

That struck me as being quite pertinent, as we’ve just entered the knockout rounds of the World Cup and I thought I’d explore the connections between progressive rock and (association) football...

I’ve lived within shouting distance and more recently within easy walking distance of Selhurst Park for the past 32 years. I didn’t follow any particular football team when I was at school or university though I do remember changing the words of hymns in a junior school hymn book to reflect the glory of Chelsea FC who had just won the FA Cup; I later professed an admiration for Derby County, who happened to be winning the league and playing in Europe at the time. I once went to see Barrow AFC thrash Cambridge United at Holker Street when Barrow were still in the old Third Division and graffiti at the top of the Arc de Triomph proclaimed ‘BBB rule the World’, Barrow Boot Boys being the thuggish element of the Holker Street crowd. I’ve been back to Holker Street a few times since with my son Daryl and brother Richard, after I’d seriously begun to support Crystal Palace; in the 70s we were really a rugby family and I spent quite a lot of time on the terraces (and later in the stand when I was offered a free ticket) at Craven Park, home of Barrow RLFC.

So why did I start paying my hard earned money to a football club, and not a particularly fashionable club out of all the teams available in London? Palace was my local team and the noise of the crowd was easily audible from our flat in Edith Road. One drawback was the road was convenient for travelling fans, so taking the car out on a Saturday afternoon or Tuesday evening often meant parking round the corner when we returned home. Selhurst Park was so local that it genuinely felt like part of the community; the local paper had pages devoted to the team and my wife’s family were long-standing supporters. As a new home-owner I was cementing my relationship with my adoptive community.

The first match I attended was against a second-tier fixture against Reading on the 4th November 1995 and the first match I took Daryl to was against Norwich, the last home game of that season (95-96.) Richard had come down to visit to go and see a gig and the opportunity to see a football match presented itself. Richard takes his sport somewhat more seriously than me but this was also the chance to introduce a young Daryl to his local team, a father-son thing. That was such a long time ago...


Out of all the football teams, Crystal Palace has the most progressive rock sounding name. In the early-mid 80s I used to live in Crystal Palace (Upper Norwood) and it is rumoured the players used to hang out in the Holly Bush, a five minute walk up Gipsy Hill from the flat I used to live in at the time. But progressive rock doesn’t really go with football because prog isn’t about a mob mentality. When I started to go to Selhurst Park regularly I’d get tickets as close to Block A of the Lower Holmesdale stand as I possibly could, just for the vibe. This was the section frequented by the hardcore supporters and, at the time, close to the seating reserved for the away support. Detached, I’d watch the fans get carried away, frequently abusing their own team for underperforming and creating an atmosphere that had a tendency to normalise sexist, racist, homophobic and other unpalatable behaviours, despite the signs warning that the use of offensive language would result in ejection from the ground. Though it’s improved over the years, with racism pretty much eliminated from the crowd at Palace, there remains work to be done to further reduce unacceptable behaviour and unforgivable vulgarity.


CPFC season ticket
CPFC season ticket

The club may have survived in the Premier League for a run of five seasons (and counting) but the inevitable pessimism that accompanies Palace fans on the rollercoaster ride as the team yo-yos between the top two divisions, flirts with relegation into the third tier and goes into receivership, twice, and hires and fires managers runs counter to the ethos of early 70s progressive rock. Test match cricket is probably more in tune with prog, requiring patience, considerable thought, lasting five days and being incomprehensible to many. Sadly, cricket has become commercialised in the fight to survive and new forms of the game have the same relationship to former test matches as 90125-era Yes had to the classic line-up of 1972. Furthermore, pessimism associated with supporting a team, whatever the sport, seems to be an English disease.


So is there any sort of link between soccer and prog? I can’t imagine any footballer being conversant with progressive rock, although Palace goalkeeper and cult hero Julián Speroni has been known to attend the after-show parties of London heavy-rock outfit Thunder. It may be that somewhere out in Italy one of the players knows something about the genre because it's embedded in the nation’s psyche. I’m quite tempted to get a ticket for a Genoa CFC home game (the oldest club in Italy, founded 7th September 1893) next time I’m in Liguria during the football season: their strip is in the same colours as Crystal Palace and, despite nine championship titles, seem to spend their time oscillating between Serie A and Serie B.


Crystal Palace FC vs Inter Milan - pre-season friendly 270705
Crystal Palace FC vs Inter Milan - pre-season friendly 270705

Those high up in the politics of the game have attempted to make soccer more inclusive, if only to attract corporate sponsors, but I still think songs about football tend to be more rock ‘n’ roll, more Rod Stewart than King Crimson, a music more mainstream than prog, despite Focus’ Hocus Pocus being used by sportswear manufacturer Nike for an advert during the 2010 World Cup. Genesis released an out-take EP of songs that didn’t make it on to Wind and Wuthering in 1977 that included the song Match of the Day, a surprising homage to the beautiful game and an encouragement to spend your Saturday on the terraces. Back in 1973, Peter Gabriel used extensive football metaphors in The Battle of Epping Forest and, to his great credit, held an anti-apartheit festival at Selhurst Park in 1983, but Match of the Day from the Spot the Pigeon EP (its cover sleeve displaying a photo from a spot the ball competition) was a straightforward song about football as lifestyle; Genesis even managed to get in a football reference in Mad Man Moon from A Trick of the Tail “...For a gaol can give you a goal and a goal can find you a role / On a muddy pitch in Newcastle...”


There is a photo of a Pink Floyd FC on the cover of A Nice Pair and a related photo, with cheerleaders, in Nick Mason’s personal history of Pink Floyd, Inside Out. This is dated January 1972 and depicts the team about to take on opponents made up of members from Family.

Rick Wakeman is a confessed football addict. It may have been his influence, but a photo from the Yes biography, Close to the Edge - The Story of Yes by Chris Welch shows Yes United, from 1976. This is likely to have been at the time when soccer was starting to take off in the USA, and Wakeman, along with 10 others, bought the franchise for the Philadelphia Furys. He was instrumental in getting a number of former UK stars to go over to the States, including Alan Ball, Peter Osgood and Johnny Giles. His admiration for Brentford FC, first made public in the booklet that accompanied Fragile, led him to become a director of the club in 1979 for a year though when an Isle of Man resident he seemed to shift his affections to Manchester City. Jon Anderson was also a committed football fan and even went for a trial at his local boyhood club, Accrington Stanley but was turned down because he was too small, though he remained a loyal supporter.


Yes United (photo by Scott Weiner, in Close to the Edge - The Story of Yes)
Yes United (photo by Scott Weiner, in Close to the Edge - The Story of Yes)

I’m an advocate of using sport as a democratic lever, much as I once naively thought progressive rock could contribute towards creating greater peace and understanding throughout the world. Systemic corruption of world football’s governing body was exposed in 2015 but it seems to me that there’s been insufficient change in the stewardship of the organisation since Sepp Blatter’s election run for a fifth term as president was wrecked by the arrests of FIFA executives for the ‘World Cup of fraud’. FIFA pays a low rate of tax in Switzerland due to its Charity status and has also been accused of enabling tax evasion, but it’s in the stands of grounds up and down the country where fans can directly witness the effects of ineffectual governance: the appointment of owners unfit to run a club; pricing many true supporters away from watching their team; the empty corporate seats after half time; and over-rewarding players in an age of austerity. I‘m in favour of the English FA attempting to set up a rival governing body and once Russia was confirmed as host nation for the competition this year, thought that a general boycott of the World Cup (and the Sochi Winter Olympics in 2014) might have had some genuine influence over the direction of Russia’s foreign policy. To avoid any charge of hypocrisy, I ought to highlight the UK's role in human rights abuses, clearly set out in a recent report by the parliamentary intelligence and security committee.



However, I’m pleasantly surprised how well the competition has been managed, apparently without intimidation or violence. I’m still concerned that the globalisation of the game and the concomitant awarding of ‘official partners’ and branding rights subverts the democratic running of world football and increases the divide between the players and the fans and I'm desperate for real change.

Prog? I don't think so. Football is stadium rock, corporate rock, not prog.


(Part of this piece was originally posted on ProgBlog as 'Match of the Day' on 13th January 2014)










By ProgBlog, May 7 2017 06:11PM

When my son was young we had family membership of both English Heritage and the National Trust and some part of most weekends was spent on outings to properties and gardens in the south east, with occasional forays into the north west when we returned to visit my family. Our subscriptions lapsed when Daryl became an adult; not only would this have incurred extra cost but we also saw less of him when he graduated and went off to do a Master’s degree in Oxford and then went to work in Australia for 18 months.

Remarkably for someone who graduated after the global economic meltdown, his career is based on his academic choices, architecture and historic conservation, and it’s this calling which has rekindled our interest in wandering around London in search of bits of fascinating architecture and design. When I first came to London in 1978 I roamed the streets from Notting Hill to Holborn looking for sites both off and on the tourist radar and, after almost weekly trips for three years, I considered myself well acquainted with the capital. This obsession with exploring the urban environment was an extension of my behaviour in Barrow, where almost all accessible and many (theoretically) inaccessible parts of the Furness peninsula were forensically investigated, inviting derision from anyone outside of a close circle of friends. Genetic or environmentally influenced, Daryl’s fixation with seeking out architectural gems means his knowledge of London’s streets is far better than mine ever was.

On a recent trip to the Design Museum in Kensington, a must for lovers of modernist architecture or anyone with a curiosity about the history of design, we stopped off at Café Phillies for a coffee and some lunch. I was intrigued to see a minibus pull up outside, the London Rock Legends Tour, on a stop to visit Bill Wyman’s Sticky Fingers restaurant which is opposite Café Phillies in Phillimore Road. I’m sure there are plenty of music-related sights, from the Abbey Road zebra crossing in St John’s Wood to The Hendrix/Handel museum in Brook Street, Mayfair, but it can’t be easy planning a sightseeing tour in London by road; the roadworks and sheer volume of traffic are hardly conducive to a strict schedule.



Inside the Design Museum
Inside the Design Museum

I was amazed to see the Yes logo on the side of the bus, along with more rock ‘n’ roll acts but, as the itinerary takes in pubs and clubs, it could be that there’s a stop at what used to be La Chasse at 100 Wardour Street, just down from the old Marquee. Writing songs about a particular location is nothing out of the ordinary but it tends to be a bit of a rarity in progressive rock; The King Crimson improvisations given the title of the town or city where they were recorded don’t count, whereas Egg’s A Visit to Newport Hospital (on the Isle of Wight) from The Polite Force (1971) is an excellent example – at this point it’s pertinent to mention that former Egg drummer and Pink Floyd drum tech Clive Brooks died last week, another loss to the progressive community.

I decided to challenge myself and go through my collection in search of London-themed compositions, requiring lyrics about the place, to see if it was possible to put together a virtual tour of physical locations, streets or landmarks which warranted a mention somewhere in the prog catalogue.

Public transport may have its problems but a combination of rail, tube and foot is by far the best way to move around the city and coincidentally, the tube map turns out to be a good place to start looking. Crimson’s Doctor Diamond from the Red-era, a song that never managed to get a studio release, doesn’t mention a place despite the reference to an ‘underground train’. I’d always assumed it was a New York subway train because Fallen Angel from the same cohort of songs is set in New York, but there’s every possibility that it’s London Underground, with a capital ‘U’. The most comprehensive reference to London Underground is on Alight, released earlier this year by progressivo Italiano Cellar Noise, where apart from the track Underground Ride, other songs are named after District and Circle Line stations Embankment, Temple, Blackfriars and Monument. This remarkable debut effort is a concept album where the narrative takes place somewhere between the real world and the imagination of the protagonist who, stuck in the monotonous grind of the daily commute through the underbelly of London, who suddenly finds a reason for existence. Musically and lyrically there are parallels with Genesis, from the Trespass-era to The Lamb Lies Down on Broadway (another New York-themed album) and the opening track on the album, Dive with Me is stylistically and harmonically linked to Foxtrot. It comes as no surprise that the play The Knife at gigs as an encore.



Genesis name-checked Epping Forest on Selling England by the Pound, a remnant of ancient woodland straddling the Greater London-Essex border where Peter Gabriel set his fictitious skirmish between rival East End gangs, apparently inspired by a piece in a newspaper that he’d read some years earlier. As much as I like this track, the piece has so much going on that when you include the four-minute instrumental After the Ordeal, it feels as though it’s taken up the entire side of the record when you’ve still got the ten-minute Cinema Show to come! Epping Forest is served by a number of stops on the Central Line and Forest Road, lined with its luxury cars (according to the song) heads into the forest from Loughton.

Also on the London Underground network is Turnham Green, served by the District and Piccadilly lines. This appears in Suite in C from McDonald and Giles’ self-titled album released in 1970, as a sub-section of the 11’40 mini-epic. This is a love song dedicated to Charlotte Bates, where the Turnham Green lyrics refer to the first time McDonald set eyes on Bates and the tube station where she disembarked. Besotted, McDonald placed an advert in International Times and remarkably, this was spotted by Bates’ friend who had been on the tube with her. It’s not really like Crimson but Michael Giles’ jazzy drum patterns do call to mind his work with his former band and his brother’s bass wouldn’t have been out of place on anything by the Crims; the subject matter is quite different, giving a more Beatles-like feel to the track.



Perhaps there’s a link between London geography and songs by King Crimson alumni. The UK song Nevermore, from their first album is about Soho, though it doesn’t relate to one particular location. Lyrically, it appears to be thematically linked to In the Dead of Night; commencing with some beautiful Allan Holdsworth acoustic guitar, it’s an altogether underrated piece with changes of dynamics and an experimental middle section. If Nevermore is a little hazy in its precise location, Rendezvous 6:02 from subsequent UK album Danger Money describes both time and place. When I first arrived in London I used to use the Sidcup branch of the railway from Charing Cross to Dartford, because my hall of residence was in North Cray, between Sidcup and Bexley. Stopping at Waterloo East, this journey afforded an excellent view of the (now Grade II Listed) Victory Arch leading into the main Waterloo Station. Built from Portland stone and completed in 1922, I find it an ugly piece of architecture but it relates to one of the most memorable UK songs, the poignant Rendezvous 6:02, which first describes the car journey from Hyde Park to Waterloo before specifically mentioning the arch itself. It was always a favourite pastime reviewing the departures timetable for trains leaving at two minutes past six in the evening and the last time I attended a talk at the nearby BFI, I deliberately arranged to meet Daryl at 18:02 under the arch.

It may not be part of the Underground network but Bill Bruford wrote the tune Palewell Park for the last of the Bruford albums. I’m labouring the point here, but this location, like the somewhat lengthier (in terms of both track timing and ground dimensions) Hergest Ridge was to Mike Oldfield, was evidently very inspiring to Bruford who lived close by in East Sheen and it's surprising because it's a piano-bass duet!.



Ian Anderson dedicated almost a full side to Baker Street on Minstrel in the Gallery, and Fulham Road features in A Passion Play. Of the former, which also mentions Blandford Street and Marylebone Road, this is the district inhabited by Anderson during 1974, making observations of everyday life in London W1. It’s possible that some of the lyrical content reflects some of the rehearsals for the album, where Anderson took on a great deal of the work as his fellow band members entertained themselves around Monte Carlo; there’s certainly more of a singer-songwriter feel to parts of the album, more acoustic guitar and less flute, but it remains one of the high points of the Jethro Tull canon. I’m less convinced about A Passion Play, particularly the use of saxophone and synthesizer, although the storyline is rather good. Is Fulham Road referenced because Brompton cemetery is close by?



Returning to modern prog, Big Big Train recite the names of underground and former waterways in Lost Rivers of London, from 2016’s Folklore. Citing Old Kent Road and Turnagain Lane (off Farringdon Road), there is much to be admired in their approach which reconnects modern, melodic prog with the importance of the roots of the genre. With the Fleet, the Tyburn, the Neckinger, the Westbourne, the Walbrook and the Effra, there are plenty of places to put on a progressive rock map of London.

...and there are a number of mews around Baker Street!







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