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

By ProgBlog, Aug 21 2016 08:07PM

When I arrived at The Lexington for the David Cross Band gig the week before last, I stopped at the merchandise stand and along with the excellent English Sun (2009) by David Cross and Andrew Keeling, I also procured Re-Collage, a live album by Tony Pagliuca and David Jackson with the Massimo Donà Quintet, progressivo Italiano being my thing and Le Orme’s Collage (1971) being regarded as the first true progressive rock album to be released in Italy. I put the two CDs in my jacket pocket and went off to the bar before the second performance of the evening, Davids Cross and Jackson with a challenging but fun set, It wasn’t until I got home to view my two purchases that I realised the CD was missing from the Re-Collage sleeve. My email to David C was passed on to David J who apologised, gave a plausible explanation and put a disc in the post for me.



The baroque-prog of the original album has been replaced by a much more jazz-inflected feel, imbued by Pagliuca’s fellow Venetian Donà, a jazz trumpeter (and philosopher) and the other members of the quintet. The sound on this recording is incredibly clear, taken from gigs in the north east of Italy in March 2004 and, without knowing how much rehearsing took place, remarkably tight. Apart from the Collage material, the ensemble tackles Theme One and We Go Now from the VdGG back catalogue and Frank Zappa’s G-Spot Tornado. The result is an enjoyable, different take on some classic Italian prog. It is also further demonstration of the prestige in which Van der Graaf Generator were held in Italy; Peter Hammill provided English lyrics for a Charisma (UK) release of Le Orme’s Felona and Sorona and Jackson would go on to play with Osanna, one of the other greats of progressivo Italiano who incorporated Theme One into their live set.

I obviously make an effort to see the bands I follow in a live setting and am willing to go to some lengths to do so. The David Cross Band gig was close to my workplace though a combination of a (justified) strike by rail workers and unannounced engineering work (I have not heard any justification for this, which I suspect may have been a political move by track operator Railtrack to erode sympathy for the rail transport unions) meant that getting home was slightly more problematic than expected. Sometimes getting across London takes more time than (for instance) getting down to a gig in Brighton.

One issue that raises itself at concerts is the use of cameras or camera phones. I’m as guilty as anyone for transgression but I remain conflicted, willing to adhere to any request from the performers not to take pictures, restricting myself to photography of an empty set before the performance and the bow at the end of the show. We should all be there for the music and the experience and should not be concentrating on a small screen held between our faces and the group performing onstage but the importance of social media for promoting a musician’s activity, coupled with an insatiable human desire to share our experience, shifts any ambivalence towards amateur concert photography in the direction of being a necessary evil. Other than at the request of the group (think King Crimson: Keep your phones in your pocket. Have fun. Enjoy the moment. “Please come and *be* with the band and not with your smart phone and other weapons of mass distraction”) I do take photographs, though not incessantly. I’m not sure why my camera was taken away from me at a Yes gig a long, long time ago when equipment for bootlegging would surely have been a more important target. The smart phone is theoretically an easy medium to use for recording a show, along with the uncontrollable volume of crowd sounds but I’d really rather wait for the band, who frequently make their own, high quality, balanced recordings, to officially release the performance. Some venues have a ban on both audio and photographic recording equipment and this is fairly strictly though not necessarily efficiently policed by staff (the Royal Albert Hall, the Barbican, the Fairfield Halls, for instance.) David Cross joked about audience photos before his concert (he welcomed them, in contrast with his erstwhile band mate) and Jon Anderson has also asked people taking photos to share them on social media; for smaller or independent acts it’s free publicity. It’s only polite to listen to the requests of those you’re going to see and hear but with progressive rock, you’re more likely to be required to concentrate on who is doing what. Why would you want to disturb those around you with the glow from your LED screen as you try to focus on the band instead of just watching and listening? Unfortunately, sometimes my memory needs a jog but I do feel pangs of guilt.

I’ve been at a number of concerts from which there’s been an associated official release and, whether I’m one of 1500 or one of 10000 people in the crowd, I feel a stronger bond between myself and the music. What makes a great live album? Of my favourites, there may be only one occasion I’ve attended the show where the release gets in my personal top 10 but this highlights the importance of the relationship between the performers and the audience. I think that recording quality is essential to get across the musical content though the material selected for the release has to be sufficiently representative of the band up to that time; on a few occasions I’ve bought a live album as an introduction to the recorded work of a group and this has encouraged me to become better acquainted with someone’s back catalogue.

I’ve always loved Yessongs (1973) but I’ve never been happy with the sound quality, so when the tapes that made up the source material for that release were discovered and cleaned up for the fourteen discs that make up Progeny: Seven Shows from Seventy-Two (2015) I was blown away. The format of using the exact same set list over the seven pairs of discs may be only slightly stricter than the content of the Crimson box sets but it allows you to trace the sonic evolution of the nine tracks featured from each date; the between-song introductions, the recovery of Anderson’s voice following a bout of influenza, the subtle variations in each piece. All this is possible because of the incredible undertaking by Syd Schwarz, Brian Kehew and a team of engineers to rebalance instruments and voices that were lost in an arena mix. Though the content of Progeny is more limited than Yessongs, Progeny has become my favourite live album because without overdubs, it represents that moment in time when Yes were way ahead of the curve, presented in a sonically true manner.



Roger Dean's paintings for Yessongs
Roger Dean's paintings for Yessongs

Beating the bootleggers, maintaining an income stream and remaining relevant in a cut-throat industry was achieved by Robert Fripp by releasing archive material through official DGM releases and also, for material of less good audio quality, the King Crimson Collectors’ Club. Fripp and David Singleton even applied a form of bootleg amnesty to fill gaps where their tapes were lacking. As impressed as I am with the Road to Red and Starless box sets and the other DGM releases from the different eras of King Crimson, my favourite Crimson live album is USA (1975). I bought this as a student in 1979 and it became something of a treasured possession even after the appearance of the more complete 30th Anniversary Edition on CD. I used to blast this out of my room at university, posing with my bass; it shows how powerful Crimson were as a live act and the track Asbury Park remains a high water mark in terms of improvisation although the full-length version wasn’t available until 2005 as a download from DGM.

Actually, it’s pointless attempting to list my favourite live recordings in any sort of merit-based order. Between Nothingness and Eternity (1973) represents the first incarnation of the Mahavishnu Orchestra at its most muscular and telepathic best and when I bought it in 1975 I had no idea that the tracks were from a shelved studio album; Playing the Fool (1977) is a kind of ‘best of Gentle Giant’ that I first owned on pre-recorded cassette; Camel’s A Live Record (1978) has the sumptuous RAH Snow Goose performance plus a collection of some of their most memorable back catalogue up to that time, and the 2002 remastered and expanded CD was an even better potted history of the band; Genesis Live (1973) was my introduction to the band and I still think it’s the best collection of their early material in a live setting even though it’s only a single LP, because of the presence of Peter Gabriel.

I could go on but I’ll just mention one last release recorded with me in the audience (and possibly featuring, albeit too small to make out, on the sleeve.) Real Time by the reformed Van der Graaf Generator, recorded at the Royal Festival Hall on 6th May 2005 and released in 2007, is documentary evidence of that auspicious occasion. In the sleeve notes Hammill reflects on pondering how it was going to pan out... I can tell him: it was incredible. The band were on top form and the choice of material that made up the set was just right, the audience, gathered together from all over the world, were warm and responsive, and the sound was clean and forceful. Great gig, great live recording of the gig.

Photographs taken at a performance and recordings of live shows allow you, in your own time, to revisit some great moments, frozen (these days, digitally) in time. As real-time memory fades, these aides-memoire can transport us to a time when prog ruled the earth.






By ProgBlog, Sep 25 2014 07:12PM

I’ve just had a birthday and was fortunate to receive a remarkable number of prog-related presents in the form of CDs, DVD and Books.

Andy Latimer announced at Camel’s Barbican show last year that it was being filmed for release and I’m now the proud owner of that DVD, In from the Cold. The ‘big’ present was The Road to Red, which is a really well-packaged box set – I haven’t had time to listen to any of it yet. Also new to my collection were Product by Brand X, an album I’d only possessed as a home-recorded tape before, which as some really good material but also has two weak, very Phil Collins solo album-like tracks that detract from some amazing playing; a 40th anniversary Darwin! by Banco del Mutuo Soccorso that contains a CD of the album performed live in 2012; the Oliver Wakeman solo album The Three Ages of Magick featuring Steve Howe which shows the virtuoso keyboard playing has been inherited from his father to such a degree that the synth solos are indistinguishable from those performed by Wakeman senior. This has a sonic connection to his father’s New Age output and another genetic trait seems to be an inability to fully realise some of the very good musical ideas, such that some tracks come across as a little aimless. This is a criticism that has been levelled at dad Rick, too, but I think it’s partly to do with band dynamics, the what you bring to a song to make the whole better than the individual parts; Three Ages is a solo effort, not music by committee. I also got Alt, Van der Graaf Generator’s experimental offering from 2012, a vocal-less set of edits and out takes that sort of calls to mind the somewhat maligned disc 2 of Present, but I can quite imagine this being classed as jazz. I also got some classic progressivo Italiano, Searching for a Land by the New Trolls, nicely repackaged by BTF, and a more recent offering from La Torre dell’ Alchimista, their second album Neo (2007) that is true to the spirit of RPI and 70s prog in general, with lengthy multi-part songs and plenty of classic analogue instrumentation. I also got the eponymous Let Spin CD, a showcase for the both the writing and playing of the four members. This is quality modern jazz played at a high tempo with a hefty dose of improvisation. This comes in a three panel cardboard gatefold sleeve with artwork by bassist Ruth Goller. If I have a choice, I like to buy CDs with mini album sleeves rather than the universal jewel case. I also like CD books, whether they conform to similar dimensions to a jewel case (Focus X; Journey to the Centre of the Earth) or if they are more book-like (my two new BMS acquisitions; Mainstream by Quiet Sun). Whatever the format, they don’t fit in my CD storage! In the week following my birthday I received the latest CD from Bill Burford’s band, the east Cumbrian-based Water’s Edge, entitled Silent Applause. This isn’t prog but Bill, the drummer in the first band I was in, has carved a niche as an intelligent adult rock musician and Water’s Edge feature a fair proportion of poignant social commentary.

I also got some prog-related books including a signed copy of Michael Rutherford’s The Living Years. I’ve always felt that Rutherford, despite his post-Hackett Genesis lead guitar playing when Genesis had become a soft-rock band, was very much a background figure. I’ve deliberately set out to listen out for his bass parts and concluded that there’s nothing flashy about his playing; it does what it has to do and it fits in well with what the other band members are doing, whether it’s short runs or his staccato style. He’s solid but not inspiring. His writing style is rather similar and the book comes across as a kind of print version of a family tree TV programme such as BBC TV’s Who Do You Think You Are?. He did once get a speeding ticket in Texas... Actually, his 12-string work with both Genesis and with original Genesis guitarist Anthony Phillips forms a very fitting part of the structure, in the context of the early, pastoral songs.

I didn’t own any books specifically about ELP until I received Emerson, Lake & Palmer: The Show That Never Ends by George Forrester, Martyn Hanson and Frank Askew for my birthday. I read Keith Emerson’s Pictures of an Exhibitionist and then I gave it away; I’ve got Martyn Hanson’s Hang on to a Dream: The Story of the Nice, so I’m not expecting any great revelations but I am looking forward to getting into that... I think that I’ve got a copy of the forthcoming biography of Robert Wyatt, Different Every Time by Marcus O’Dair, when it comes out at the end of October. I’m fascinated by Wyatt’s music and politics and, though he now appears to have attained the status of ‘national treasure’, I think that his opinions on the industry, life and music in general are totally relevant and valid.

One more new book that has just been added to my collection is Jerry Lucky’s 20th Century Rock and Roll: Progressive Rock. Apparently, and I’m sure my wife won’t mind me revealing this, the book has been spotted for £275 on Amazon but she got it, off the shelf, for £10. The seller suggested that the cover might be marked with some indentations but it really is in very good condition. I’ve used two of Lucky’s guides to progressive rock and, for the most part, they’ve been reliable indications of the quality of the music; they’ve certainly been helpful when I’ve gone off to Spain, France, Australia and even Italy to help me seek out indigenous prog.

This offering is an alphabetical list of the top 50 most influential prog bands. It expands on his history of each band in the Files and Handbook and provides his reasons why the bands are influential. Everyone is going to have their own personal preference so I’m not too worried that his choice doesn’t exactly coincide with mine – that’s one of the great things about fans of progressive rock. But I’m not sure that the text can have been proof-read because the grammar is very poor and, more worryingly, is the absence of checking of facts. Who let him publish a history of the Floyd with repeated reference to Dave Gilmore?

Pink Floyd obviously have a place in the top 50 most influential prog bands because their early material and studio mastery inspired many other bands. Gilmour’s guitar is very distinctive and they’ve made history with album chart longevity, so why the schoolboy error? That’s a hard question to answer, especially as Lucky began hosting a prog radio show, Exposure, over 35 years ago and is a renowned collector of progressive and psychedelic music. There’s a passing reference to Marc Bolen and his history of PFM, Van der Graaf Generator and Gentle Giant are spoiled by what I’d regard as terrible mistakes. Apparently, John Weathers took up drumming duties for Gentle Giant in 1976 for the Interview album... What does that say about the mini-biographies of the bands I don’t know very well?

I frequently flick through his Progressive Rock Handbook (which is more up-to-date than his Files) and I’ve noticed that he sometimes refers to other people’s impression of bands. There’s no shame in that as it would be almost impossible to have examples of music from all the bands he lists; it’s just good research and I’m thankful for him suggesting that RPI band Celeste would appeal to people who like Finisterre. This has opened up a whole world of Fabio Zuffanti projects for me to seek out and enjoy.


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