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Still reflecting on the latest venture to the Italian Riviera, ProgBlog looks at the legacy of the port city of Savona: Delirium and Il Cerchio d'Oro who released the rather good Il Fuoco Sotto la Cenere in the autumn

By ProgBlog, Sep 25 2017 09:51PM

The 25th Progressivamente Free Festival is being held in Rome this week, featuring performances by classic and more recent instances of progressivo Italiano. The gigs, which run from Wednesday 27th September to Sunday 1st October at the JailBreak Club start at 21.30 in the evening and showcase only two bands per night, apart from on Friday when there are three bands and the performances commence half an hour earlier. I first heard about the festival in early July, when the shows were advertised as being held at the Planet Live Club, and planned a week long Roman holiday...



I’ve been to Rome a couple of times before, in August 1980 by InterRail as a student and eleven years ago on a break between annual visits to Venice with the family. My memories of that first visit include my first ever espresso in a bar somewhere along the Corso Vittorio Emanuele II (Bar Tassoni?); being denied admission to St Peter’s because I was wearing shorts and having to run back to the pensione on the Piazza di San Pantaleo to put on a pair of jeans; the hypocrisy of nuns selling religious tat outside St Peter’s; the watermelon stalls at the Circus Maximus; the lack of care afforded to the ruins, with rogue vegetation everywhere; and the feeling that two days was insufficient to take everything in. The family visit in 2006 was a ten night stay in the heat of July, based at the Hotel Novecento in the Lateran area, very handy for the Colosseum and close to the Manzoni metro station. Susan and Daryl hadn’t been to the Eternal City before so we went over some familiar ground for me. This time we braved the queues and visit both the Sistine Chapel and the Pantheon and we also used one of our days to visit Pompeii, retracing another trip from 1980. Daryl and I even ventured out one evening to a outdoor screening of Wallace and Gromit and the curse of the Were Rabbit at the Vittorio Emmanuel International film festival which was, if possible, even more funny in Italian.


The Colosseum 1980 (top) and 2006 (bottom)


I really like the city; I know it’s dirty and graffiti-riddled and unbearably hot in summer but the history of the place trumps the traffic, the tourists and the smoking and though there’s a rush on the streets, the pace of life slows when you sit in a bar or a restaurant. This second visit coincided with the early stages of my (ongoing) passion for progressivo Italiano. 2005’s Venice trip was the first where I’d deliberately looked for classic Italian prog on CD to add to some original vinyl from the 70s - PFM’s The World Became the World (1974), Cook (1974) and Jet Lag (1977) - which yielded Caronte by The Trip (1971); Contrappunti by Le Orme (1974); Donna Plautilla by Banco del Mutuo Soccorso (1989); Concerto Grosso nos. 1 and 2 by New Trolls (compilation released 1989); and an early live album by PFM when they included cover versions of UK progressive rock tracks in their repertoire, The Beginning 1971-1972 Italian Tour (released in 1996).

In 2006 I only managed to buy CDs in one shop, the Feltrinelli store in the Galleria Alberto Sordi which also had a café where we grabbed a bite to eat, but we did visit a slightly smaller branch on Corso Vittorio Emanuele II where I bought Jonathan Coe’s progressive rock-related tale of adolescence The Rotters’ Club in the English Language section. My diary doesn’t say what music I invested in but I’m pretty sure that I picked up PFM’s second album Per un Amico (1972), the Italian version of Cook, called Live in the USA (1974) and a compilation of early Le Orme, Gioco di Bimba e Altri Successi (released 1998). I think this was the trip where I also bought Io Sono Nato Libero by Banco del Mutuo Soccorso (1973).


The evening performances mean that Susan and I can see more of Rome and environs. We didn’t manage to get to Ostia Antica on our last visit because the train we were due to catch was crowded, worse than a rush hour commute on the Southern network in the UK; a few years later I discovered from a visiting (Roman) surgeon that there was a store called Elastic Rock and when he took a weekend break at home, he brought me back Principe di un Giorno (1976) by Celeste and Zarathustra (1973) by Museo Rosenbach; I’ve subsequently discovered there’s another excellent-looking record store called Millerrecords which I hope to get to wander round.


On Wednesday we’re being treated to La Bocca della Verità, who began their career in Rome in 2001 performing cover versions of UK and Italian prog – their name, which means the Mouth of Truth, comes from a Roman tourist attraction, a marble drain cover which may date back to before the 4th Century BC, imprinted with the image of a man’s face and with openings for eyes, nostrils and mouth. It is mounted on the wall of the portico of the church of Santa Maria in Cosmedin (in the Aventine district) and is reputed to be a medieval lie-detector, where the mouth closes on the hand of liars. The six-piece began to drop borrowed material from their repertoire in 2004 to concentrate on original material, releasing their first album Avenoth in 2016, a heavy symphonic prog suite lasting nearly 78 minutes. Later on Wednesday is another local band Ingranaggi della Valle who released their second album Warm Spaced Blue on Black Widow in October last year. I saw them in Genoa in 2014 performing material from their 2013 debut In Hoc Signo which appeared to be inspired by the Mahavishnu Orchestra as much as any 70’s prog. What I’ve heard of their latest music is, if anything, more complex and more jazzy. The jazz rock continues on Thursday with Accordo dei Contrari (from Bologna) and Slivovitz (from Naples.)


Tourist attraction La Bocca della Verità


Originating in Sicily but working from Rome, Flea on the Honey releasing a self-titled album in 1971, then became Flea for their second album Topi o Uomini (1972) which was more progressive than the first, then after a break during which time bass player Elio Volpini formed L’Uovo di Colombo, they re-formed as Etna for one eponymous album in 1975 where the style had shifted to a Mediterranean-influenced jazz-rock. They appear on Friday as Flea on the Etna. Consorzio Acqua Potabile also take to the stage on Friday. Hailing from near Novara in Piedmont, they are another group I saw perform in Genoa during the 2014 Riviera Prog Festival and I’ve subsequently collected some of their material: the four CD, fortieth anniversary set Il Teatro delle Ombre (2014) and Il Bianco Regno di Dooah (2003). Though they toured a rock opera called Gerbrand in the 70s they didn’t make any studio recordings until 1993 with the excellent 70s-inspired ...Nei Gorghi del Tempo (which appears as a 20th anniversary edition on Il Teatro delle Ombre. Their Genoa appearance was made more special by the collaboration with Jumbo’s Alvaro Fella; C.A.P and Fella released an album last year on Black Widow, Coraggio e Mistero; Jumbo will be performing after C.A.P.



Saturday evening begins with Jenny and Alan Sorrenti and Gianni Nocenzi for what has been billed as ‘Italia 70’. I suspect there will be other artists but whether they’ll be performing Saint Just songs, Alan Sorrenti’s solo material (Aria from 1972 is considered an RPI classic) or B.M.S is pure speculation. Rounding off Saturday night is Semiramis. I bought their one and only album Dedicato a Frazz (1973) in 2009, paying £20 for a second-hand CD, an exceptional album that I’d like to own on vinyl.


Sorrenti siblings
Sorrenti siblings


Semiramis - Dedicato a Frazz
Semiramis - Dedicato a Frazz

There’s a mixture of the recent and original progressivo Italiano on Sunday, commencing with La Coscienza di Zeno, an excellent band with two keyboard players formed in Genoa who I’ve seen a couple of times before, in Soignies and in their home city. They perform classic-sounding RPI and both Luca Scherani and Stefano Agnini appear in Fabio Zuffanti projects. The free festival is closed with a performance by Biglietto per l’Inferno whose self-titled album from 1974 is awarded 5 stars in every publication on progressivo Italiano. I do like the album but I don’t rate it as highly as the Italian journalists because it’s quite heavy and lacks subtlety; the keyboard work is excellent and the flute is very expressive, which is good, but I think it’s more rock with a progressive edge than true progressive. Still, I’m very much looking forward to see them.



Biglietto per l'Inferno
Biglietto per l'Inferno

This is the first chance I’ll have had to see all but three of the acts and I can’t help being amazed by the spirit of the musicians and the organisers who manage to stage these festivals, not just in Rome but all over Italy, with an amazing frequency. I would have liked to have gone to Veruno for the 2 days of Prog + 1 at the beginning of September but for the time being I’ll just get ready to enjoy 11 bands on my Roman Holiday.










By ProgBlog, Aug 13 2017 09:44PM


Canterbury Cathedral
Canterbury Cathedral

A cultural hot-spot in the middle of a largely agricultural county, (Kent was, up until 2006 when it was deposed by North Yorkshire, described as ‘the Garden of England’ thanks to a dish of Kentish cherries which particularly satisfied King Henry VIII) Canterbury is a city of surprises. Since geography lessons in the early 70s I had always assumed that the description ‘Garden of England’ was associated with agricultural output but the criteria now applied are much wider than the initial fame for orchards and allotments which won Kent its title. They now include scenery, hidden corners, village traditions and the variety of wildlife and Kent has lost its place because of perceived congestion, pollution and the adverse affects of over-building, plus a derogatory view of young, less-well off fashion slaves who, it is alleged, first appeared in Chatham; even the Channel tunnel rail link was considered to be a negative factor.

Most recently and dramatically, this provincial city which had returned a Conservative MP since the constituency was created in 1918 (prior to that it was the Canterbury borough where up until 1885 there were two seats) elected a Labour MP, Rosie Duffield, with a 45% share of the vote. Duffield ousted sitting MP of 30 years, Sir Julian Brazier by 187 votes. This stunning victory was due to two factors, the candidate herself who seems genuinely liked by the constituents, and the student vote – Canterbury is a university city and young people have been reconnected with politics thanks to Jeremy Corbyn’s vision that there is a viable, alternative way of running the country. The promise of ending tuition fees was seen by some as a bribe but it’s clear that the current system for student finance is working neither for the students nor the loans company itself, with half of all students unlikely to pay back their loan in full and it has been argued by people like Peter Scott, professor of higher education studies at the Institute of Education and former vice-chancellor of Kingston University, that ending student tuition fees makes both economic and social sense. Furthermore, reneging on the promise would have been electoral suicide for Corbyn; does anyone remember Nick Clegg and the Lib Dems? A member of the public interviewed after the 2017 general election said that she never thought of Canterbury as a Conservative city and that her vote was vindicated, yet every other constituency in Kent has a Conservative MP and Canterbury is home to the Church of England.


It doesn’t have the feel of an especially devout place, either. There are probably more tourists on a pilgrimage to the shops, now that Sterling is so weak against the Euro, than there are who come to see the site of the murder of Archbishop Thomas Becket, though the 11th Century cathedral, the ruins of St Augustine’s Abbey and St Martin’s Church, all part of a UNESCO World Heritage site are destinations worth seeking out for history and atmosphere. It’s not just the trainloads of schoolchildren arriving from France with matching laminated lanyards, part of the attraction of Canterbury is that is has an outward-looking vibe, welcoming everyone. The student adoption of Corbyn ideals fits nicely with this openness and even outside of university terms, the city feels surprisingly young.


Canterbury is of course the city associated with a particular sub-genre of progressive rock though some of the participants deny that such a construct really existed. What can’t be denied is that Soft Machine and Caravan were formed there and that Gong also has its roots in Canterbury. Original Soft Machine drummer Robert Wyatt knew Mike Ratledge, Kevin Ayers and Brian and Hugh Hopper through the Simon Langton School; Dave Sinclair also attended the school; and Daevid Allen lodged at Wyatt’s parents’ house near Canterbury. The forerunner of Soft Machine and Caravan was The Wilde Flowers, where the collective of musicians included Pye Hastings (Ayers went out with Hastings’ sister Jane); Richard Sinclair (who became friends with the Hoppers when they went to see Sinclair Sr. play in his jazz band); and Richard Coughlan (who was introduced to Hugh Hopper via a mutual friend in the Sea Cadets.) Egg (Dave Stewart, Mont Campbell and Clive Brooks) are classed as a Canterbury band despite having formed as Uriel when at the City of London School, along with fellow pupil Steve Hillage. When Hillage left to go to the University of Kent (at Canterbury) Uriel continued as a trio, got a record deal and were encouraged to change their name. The organ-heavy material has little in common with Caravan, though the overdriven keyboards do at times come into Soft Machine territory, but that’s hardly surprising since Stewart has acknowledged Ratledge as an influence. The psychedelia, whimsy and humour seemingly shared by Egg with the other two groups, was more a product of the times though they did share an interest in odd time signatures. Hillage would later join Gong (1973-75) for some of their most coherent material, having disbanded his own group Khan and played with Kevin Ayers in Decadence, appearing on Gong’s classic Radio Gnome trilogy.



If there is a Canterbury scene, then Hatfield and the North surely fit in, the result of a number of intertwining band histories. Well away from that geographical area of Canterbury, Delivery was formed in 1967 featuring Phil Miller on guitar, his brother Steve Miller on piano, Pip Pyle on drums, Jack Monck on bass and Carol Grimes on vocals. Steve Miller would replace Dave Sinclair in Caravan for Waterloo Lily (1972) and Phil Miller, who was a guest musician on Waterloo Lily joined Robert Wyatt in his post-Soft Machine Matching Mole, a band that originally included Dave Sinclair on keyboards; Wyatt introduced Pyle to Daevid Allen and the drummer went off to live and gig with Gong from 1971 to 1972.

The Hatfields first convened in 1972 and comprised Phil Miller, Pip Pyle, Dave and Richard Sinclair but the band only played a couple of gigs before Dave Sinclair left, deciding that he wasn’t best suited to lack of structure. His replacement, Dave Stewart, fitted perfectly and their two albums, the self-titled debut (1973) and The Rotters’ Club (1974) are both excellent examples of progressive rock tinged with complexity and jazz sensibility, and presented with a madcap humour. Tricky time signatures and nice melodic moments are linked together by Sinclair’s ever-so-English vocals; a collective of incredible writing skills from all four members. The branches of this scene spread out to a remarkable array of other musicians and groups, including Bill Bruford, Camel, Henry Cow and Mike Oldfield, none of which should be classed as part of the Canterbury sub-genre but which display links back to a fertile source of inspiration and musicianship.


It’s been a couple of years since I was last in the city and there’s noticeable change. My first shopping visit in 2007 (I had been a few times before that for meetings at the hospital) included a stop at the Fopp record store where I picked up two Syd Barratt CDs, and a stall in the indoor market where the owner had connections with the original Canterbury bands and I bought Hugh Hopper’s Two Rainbows Daily (with Alan Gowen) and Numero d’Vol on CD; by the time of my next visit, Fopp had gone into liquidation and had been replaced by an HMV and the indoor market stall had closed down so subsequent trips tended to focus on non-musical shopping and the odd bit of tourist activity. The difference this time was that I’d checked for record stores and their opening hours and found three I’d not previously been aware of. First stop was Vinylstore Jr (http://www.vinylstorejr.co.uk/), a new vinyl-only shop in Castle Street (which is close to Canterbury East railway station) which concentrates on new issue LPs but does have a small second-hand section.


It’s run by a very pleasant, helpful and knowledgeable chap called Nick who recognised the difficulty of providing a dedicated ‘Canterbury’ section in a shop selling new vinyl; there appear to be only two Caravan albums which have been rereleased as an LP, In the Land of Grey and Pink (the 40th anniversary edition remastered by Steven Wilson from 2011 which is actually a double LP with bonus tracks), and If I Could do it Again, I’d do it All Over You. The former was a limited pressing and there can’t be many available now and the latter is on the 4 Men with Beards label in the US (catalogue no. 4M239). There are reissues of a few Soft Machine albums on vinyl commencing in 2010, including the self-titled first album, Second and Third. I indulged in the latest Roger Waters album Is this the Life we Really Want? plus a 2017 reissue of On An On by a much more recent Canterbury-based band, Syd Arthur; Sound Mirrors and Apricity were also available. This quartet, now comprised of three Magill brothers and Raven Bush play mostly short, always intelligent and intricate songs washed with a gentle psychedelia which at times do call to mind Canterbury bands of the late 60s and 70s. The closest On An On comes to progressive rock (the group won the Prog Breakthrough Act award in 2014) is the rather wonderful Paradise Lost. After explaining to him the sort of music I liked, Nick pointed out one album and suggested that I listen to Melbourne psyche band King Gizzard and the Lizard Wizard latest release, Murder of the Universe. He was right that it’s more proggy than their previous work but it’s still a little too straight psyche for my taste.


Second stop was the almost all second-hand Soundz ‘n’ Sitez in St Peter’s Street, the main thoroughfare through the city heading towards the Westgate. Run by Paul and Jayson, the shop is absolutely rammed with crates of albums and a small comic collection, retained from the store’s previous incarnation, but still no dedicated section for ‘Canterbury’. It turns out that they knew the former stall-holder from the indoor market, Dave Radford, and that Radford used to be in a Canterbury prog band called Gizmo... ...and Gizmo had released a couple of albums in the past five years, a self-titled effort in 2012 and Marlowe’s Children, part 1: The Innocence from 2015. The band had also covered Van der Graaf Generator's House with No Door for a Mellow Records compilation. Available on two formats in the shop, I chose the limited edition Gizmo on vinyl. The shop has attracted a few famous visitors including Rick Wakeman, in town for a gig, who ventured in and signed some records.




The third stop was a like walking into a slice of history. Canterbury Rock has been around since around 1979 and is run by Jim, a former council gardener and Fairport Convention fan, even though this was the first time I’d managed to find it, out beyond Canterbury West station. The shop has second-hand records, CDs, DVDs and audio equipment and has housed small musical events. If you were fussy you might think the place shabby, but its collection of posters and memorabilia from all genres, none of which is for sale, provides a unique documentary of popular music from the 60s onwards. There are some treasures which remain out-of-sight, but if you engage Jim in conversation he’ll tell you some brilliant stories. The Sinclairs lived around the corner, and when I’d handed over my money for a couple of LPs, he showed me a rather unusual, slightly battered copy of Soft Machine’s Third, hidden somewhere behind the counter. Pasted inside was a Simon Langton School photo, with an arrow linking the sleeve photo of Mike Ratledge to a young Mike Ratledge in the school photograph.

Jim, if you read this, your website link doesn’t work.




This means there’s now a different reason to make the pilgrimage to Canterbury; three excellent independent record stores which cover subtly different markets. Some of the other touristy bits aren’t too bad either.













By ProgBlog, Feb 15 2015 10:58PM

1975 might seem like the middle of the golden age of progressive rock but there weren’t too many releases by the major players. Music inspired by the Snow Goose was about to put Camel firmly on the prog map but they had come fairly late to the party. Wish You Were Here was a key release marking a high point in the Floyd canon, coming after what seemed like a prolonged hiatus and the last overtly progressive album they would do for a very long time. Though brilliant, Hatfield and the North’s The Rotters’ Club was an album that fell outside of mainstream prog but that for me was the best of the Canterbury offerings. Steve Hillage released the good but not essential Fish Rising, helped by fellow Gong members and Hatfield’s Dave Stewart, a friend and former early band mate and Caravan released what could really be described as the last decent album of their golden years, Cunning Stunts.

Gentle Giant switched record label to Chrysalis and put out the accessible and rocky Free Hand. I heard the title track on Alan Freeman’s Saturday radio show around the time of its release and it remains one of my favourite Gentle Giant tracks; a reformed Van der Graaf Generator emerged with the excellent Godbluff and covered familiar foreboding VdGG territory in a more measured, controlled way; Jethro Tull regaled us with the under-rated Minstrel in the Gallery; Rick Wakeman followed up the massive success of Journey to the Centre of the Earth with The Myths and Legends of King Arthur and the Knights of the Round Table; and Steve Hackett filled the vacuum in Genesis output following the departure of Peter Gabriel by embarking on his first solo album, Voyage of the Acolyte, which covered much of the ground that had been inhabited by Genesis.

1975 was the year of the Yes sabbatical with band members concentrating on solo album material. Steve Howe’s Beginnings and Chris Squire’s Fish out of Water were released within a couple of weeks of each other in the autumn and Olias of Sunhillow, Story of I and Ramshackled followed in 1976. The extended break between group albums mimicked the lay-off between Dark Side of the Moon and Wish You Were Here; WYWH and Animals; and Brain Salad Surgery and Works Volume 1 and could be regarded as a period to recharge creative batteries. The closest the solo material came to resemble Yes music, certainly from a structural point of view, was probably Fish out of Water though Anderson’s Olias was possibly more spiritually in tune with Yes music and my personal favourite of the bunch. I wasn’t sure about the recreation of Roger Dean’s Fragile spaceship by Dave Roe despite recognising his artwork from Anne McCaffrey Dragonflight books which were essential reading for a 15 year-old but, in general the gatefold album sleeve worked and felt very satisfactory as a book with Anderson’s planetary eco-disaster storytelling. Many Yes fans were disappointed with the mixed bag from Alan White because it wasn’t prog and I regard Beginnings as an album for purists because, although it is thoroughly Steve Howe, it’s again too much of a varied stylistic blend.

Patrick Moraz’s Story of I was written during 1975 then recorded (at Jean Ristori’s Aquarius studio in Geneva) and released in 1976. Ristori was a former band mate of Moraz in Mainhorse, who played a largely blues-inflected proto prog and released one self-titled album in 1971. Mainhorse features a hefty dose of psychedelia and it's relatively heavy, with a lot of Hendrix- or Cream-like guitar. The songs are well-crafted but uncomplicated and the lyrics relatively throwaway and meaningless, though Peter Lockett sings quite well. The instrumental breaks remind me of Pete Banks-era Yes and there are some sections that remind me of Dutch band Supersister. There are jazzy breaks, Lockett plays some violin and Jean Ristori plays some cello but it's the organ work of Moraz that pushes the album in a prog direction, peppered with baroque references. There's even a great swinging electric piano extemporisation around a Bach theme on More Tea Vicar. Moraz’s writing style had matured by the time of Refugee and though their only studio album Refugee (1974) is primarily a vehicle for Moraz, the playing of Lee Jackson and Brian Davison brilliantly complements Moraz’s compositions which are top-notch symphonic prog, miles away from Mainhorse. Story of I references Refugee and Relayer; the pitch-bended fast moog runs are classic Moraz and the dense, complex sound has been taken from his time with Yes but I don’t know how much I like the album. I never owned the album on vinyl and didn’t get a copy until February 2012. Alan Freeman played Like a Child in Disguise when the record first came out and I was bitterly disappointed. I’d not heard of Mainhorse at that time and didn’t realise that Moraz had been asked to join Lee Jackson’s pre-Refugee band Jackson Heights, I’d only heard Refugee and Relayer and Freeman’s featured track was nowhere near as good as either of those. The lyrics (by John McBurnie, a multi-instrumentalist and songwriter from Jackson Heights) seemed a bit trite and though I’d been versed in the concept of the album, it was difficult to trace the story through either the music or the lyrics. The concept was rather adventurous bearing in mind that science fiction was only just becoming mainstream in 1976; the jungle setting and the architecture of the ‘hotel’ call to mind JG Ballard and there’s even a dystopian aspect to the setting because the trials of the guests are prime-time TV viewing for the rest of the world. This voyeurism may have been inspired by the 1975 film Death Race 2000 and, like Death Race, there’s a positive ending. The ascent/escape of the two main protagonists (Symphony in the Space) is the only part of the story that fits in with the music and it appears to have been influenced by Moraz’s time with Yes. Much of the music could actually be classed as ‘world music’, such is the strength and feel of the Latin rhythms; perhaps that’s what makes me unsure about the album. The playing is exceptional and the range of styles, from classical to jazz to rock to Latin, is part of the make-up of progressive music but, in fitting with the concept, the Brazilian rhythms are overwhelming. Without other creative input or just someone suggesting that some of the ideas don’t quite work, Story of I comes across as a single-minded tour de force and coupled with the rather humdrum nature of the lyrics (when Moraz worked so well with Lee Jackson), this isn’t exactly my cup of tea; it’s not strictly prog.



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