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Following a short skiing trip ProgBlog reflects on music about winter and snow, and reconsider reggae...

By ProgBlog, Jan 8 2018 03:43PM

Not content with the excellent music I received at Christmas, Gentle Giant’s Three Piece Suite, David Gilmour Live at Pompeii and Änglagård’s Prog på Svenska - Live in Japan, I reviewed my wish list and found that Folklore by Big Big Train was unavailable on vinyl... I’ve come a bit late to the Big Big Train party, only possessing the material released on the cover mount CDs of Prog magazine and until recently, when my listening habits relaxed a little, not being sufficiently moved enough to buy any of their albums. The first track I heard was probably Winchester from St. Giles' Hill, a YouTube clip which one reviewer described as ‘the best song Peter Gabriel never sung.’ It’s a very pleasant piece of music but as it doesn’t pick up the pace until about 5 minutes in, I’m ashamed to say I didn’t pursue the output of the band until sorting out my music library last year and finding Last Train, Kingmaker and Judas Unrepentant, all of which I very much like, on Prognosis 5, Prognosis 18 and P5 Into the Lens respectively, prompting me to add Folklore to my wish list. With that album out of stock, I decided to order Grimspound (on vinyl) instead, even before Burning Shed had reopened after Christmas, just in case that too became unavailable as an LP. Depending on how much I like Grimspound, I might have to buy a download of Folklore until the vinyl edition gets re-released.


Christmas present - Three Piece Suite by Gentle Giant
Christmas present - Three Piece Suite by Gentle Giant

I’ve also visited the BTF website, after seeing the vinyl version of Dedicato a Frazz by Semiramis advertised in the sidebar of my weekly email from the Italian prog distributors and mail order firm. I’ve been after the LP since before seeing the band perform at last year’s Progressivamente festival in Rome because it’s a great piece of music, little known or appreciated outside of Italy until the renaissance of prog; the CD was one of my most expensive second-hand purchases on that particular format but I’ve always thought it was well worth it, like some obscure treasure.

It seemed pointless to splash out on postage for one album so I added DNA by Jumbo to my shopping cart. I currently own this as a download, having never seen the release in a physical format, despite always scouring the Js in the CD and record bins in every record shop I go to in Italy. The first of their two classic RPI albums, DNA represents fairly basic progressivo Italiano but it’s still quite enjoyable. There’s not a great deal of variation in the keyboard with only organ and piano but, in common with quite a lot of early Italian progressive rock, there’s a hefty dose of flute which sounds as though it’s been inspired by Ian Anderson and early King Crimson. DNA was Jumbo’s first foray into a progressive sound but there’s still a weighty reminder of their roots, including harmonica, a blues instrument which I don’t believe has any place in prog! However, the influence of early UK prog is evident throughout and Ed Ora Corri (And now you have to run), the second part of the 3-part composition that makes up side one of the original LP (Suite per il Sig K., a track that reflects a Kafka-like existence) is quite spacey and seems to have been at least partially inspired by Pink Floyd. I’ve owned their 1973 release Vietato al minora di 18 anni? (Prohibited to minors under 18?) for a year now, a limited edition from BTF on red vinyl and apart from seeing vocalist-guitarist-songwriter Alvaro Fella performing with Consorzio Acqua Potable (CAP) at the Riviera Prog festival in Genova in 2014, where at the time he was confined to a wheelchair, I have also seen Fella play with CAP, and Jumbo, at Progressivamente in Rome last September. On record, Fella’s vocals might seem something of an acquired taste – he has a distinctive theatrical style that has hints of Alex Harvey or Roger Chapman from Family, but his singing comes across as perfectly suited to the music when you witness him play live.


The first gig of the year was a fairly low-key affair at The Dublin Castle in Camden. I was accompanied by Jim Knipe who only got to see a fraction of the main attraction, Hats Off Gentlemen It’s Adequate, but had to sit through an excruciating performance by Unit 48 who were like Haircut 100 fronted by David Brent, one nondescript singer/guitarist, and a rather intriguing opening act False Plastic, a trio of bass, drums and guitar who played short, spiky numbers apart from their final song, where they let rip with some psychedelic punk.


The line-up at The Dublin Castle 4/1/18
The line-up at The Dublin Castle 4/1/18

I’d been invited to listen to the new release Broken but Still Standing by Hats Off Gentlemen It’s Adequate at the end of last year and found it a pretty good mixture of prog and post-rock. The soundscapes are quite Floydian (especially post-Waters Floyd) and the themes are pretty deep; if that isn’t enough to intrigue you, the flute is absolutely gorgeous and these passages are the most prog. Their album When the Kill Code Fails from 2016 comes with a recommendation from Steve Hackett.

I was included in a tweet sometime during the day of the gig that flautist Kathryn Thomas wouldn’t be appearing and that the band, which can involve as many as five people or as few as just one, would be appearing as a duo, Malcolm Galloway on guitar and vocals, and Mark Gatland on bass, keyboard and effects; I wasn’t put off by the pared-down outfit because I knew that some of the material could be recreated using patches and triggers and though we weren’t going to get the high quality prog of the first fifteen minutes of Broken but Still Standing, there were plenty of other parts of the latest album which were very enjoyable.


Broken but Still Standing by Hats Off Gentlemen It's Adequate
Broken but Still Standing by Hats Off Gentlemen It's Adequate

Indeed, the set was a mixture of the shorter material from Kill Code and Broken and it was thoroughly enjoyable. The programmed drumming, something I’m a bit wary of, sounded like an authentic kit and the washes and bits of electronica were quite like on the albums. There was one moment, possibly at the end of My Clockwork Heart where Galloway pressed the wrong foot pedal and guitar continued playing, even though it was the end of the song. Galloway’s vocal style is quite languid, a bit like Pete Shelley, but it does suit the music; this is in comparison to Gatland who was a ball of energy, leaping around the small stage sometimes two footed, bringing his knees up to his chest. It wasn’t only good to listen to, it was genuinely entertaining and when I spoke to them afterwards it was quite clear that they’re both really nice guys. I bought the two recent CDs and took advantage of the special merchandise stand offer – buy two get the third (Invisible) free. The duo made an appearance at HRH Prog last year as stand-ins for Touchstone and by all accounts, went down very well. It’s hardly surprising. Their originality, enthusiasm and great songs mark them out to be a group to watch. I can’t wait to see them as a five-piece.


Hats Off Gentlemen It's Adequate set list 4/1/18
Hats Off Gentlemen It's Adequate set list 4/1/18

Still driven to own more music, I visited Croydon’s 101 records for their half-price New Year sale, where the offers were only available to those who’ve signed up to Duncan Barnes’ email list. The condition of the album is rated as A (Very Good Condition) to C and though I’ve had numerous chances to pick up the original Journey to the Centre of the Earth for £1 from flea markets, I’ve always resisted because the sleeve and/or the LP has been badly marked. I’m please I waited. With a sale price of £2 and rated as in VGC, I bought Journey (a record I’ve never owned before) and a replacement The Myths and Legends of King Arthur and the Knights of the Round Table, something I bought in 1975 and sold in ’77 or ’78, also for £2. I then splashed out and added Ekseption's Greatest Hits for £3!


Sale bargains from Croydon's 101 Records
Sale bargains from Croydon's 101 Records

I’m not sure I’ll ever stop wanting more music...








By ProgBlog, Jan 2 2018 08:32PM

New Years Eve, 2017

It’s 7pm and I’ve just started the blog. I plan to go to bed early because I’m on call and I’m hoping that revellers don’t accidentally contribute to the strain on hospital A&E departments. Not a fan of this night, any year, because of the way it’s been hyped up by advertisers and the drinks industry and how it seems to have become accepted that on this particular occasion it’s OK to get totally wasted, my best new year was spent stargazing on the summit of a small drumlin on the Furness peninsula to mark the transition from the 1970s to the 80s.


Night sky over Furness
Night sky over Furness

TV has been awful this week. The BBC 24 hour news channel has been filling the gaps between genuine pieces of news with reviews of the year for Sport, Film, Deaths, Royals and so on, shown with a frequency that positively numbs so that it becomes difficult to work out which day of the week it is. Having gone to see Crystal Palace play today I can confirm that the football schedule doesn’t help with this feeling of dislocation; lucrative broadcasting deals mean that Premier League teams and their fans are at the mercy of TV executives so that this year, what used to be traditional Boxing Day fixture took place over three days and the New Year’s Day fixture is also due to be spread over three days. Throw in odd kick off times (Palace played at noon) and it’s also messing around with my circadian rhythm.


A couple of days ago we had the announcement of who appeared in the New Year’s Honours list. This is something of a end-of-year ritual and despite a promise to end cronyism, a concession wrung out by a public increasingly disillusioned with the way politics works, we end up with a knighthood for Tory kingmaker Graham Brady and another for ex-deputy PM Nick Clegg, whose lust for power facilitated 7 years of austerity, massive student debt and the impending destruction of the NHS. This ‘recognition’, though a little better than the obvious returning of a favour to Lynton Crosby in the list last year, reinforces the notion that politics is played by an elite for people within their own, tiny bubble and with little or no connection to everyday life. This is obviously not the case for all MPs but there are a number of parliamentarians (and, at a local level, councillors) who use their power and influence to manipulate policy so that it benefits themselves or their families; those with directorships of private health companies or the landlords of multiple properties, for instance. If there’s one burning issue of the times it must be inequality, whether that’s a lack of access to decent housing, decent social services and healthcare provision or decent jobs but, to the shame of us all, the gap between the haves and have nots is getting wider.


PM David Cameron and Deputy PM Nick Clegg (Getty Images)
PM David Cameron and Deputy PM Nick Clegg (Getty Images)

I find it obnoxious that the lies told during the Brexit debate have put the country in a position which exaggerates inequality; resentment at a lack of investment in former industrial regions, backed up with the spurious mantra that we’d ‘take back control’ was channelled into stoking anti-immigration sentiment and the subsequent devaluation of Sterling means that the increased cost of goods disproportionally affects the less well-off whereas the concomitant rise in share value benefits the already wealthy. It’s incredible that we can boast about the return of blue and gold passports (during the increased time in queues at customs, perhaps) swapped for seamless, invisible borders for exports and imports, and continue an archaic honours scheme which celebrates the achievements of some of the most inappropriate individuals. As for football, today’s Palace performance might have convinced me that it’s ok to get another season ticket for next year; the lack of application from players on silly wages at the beginning of the season felt like they didn’t care about the fans who pay to see them play, their earnings outstripping that of the average punter by some unholy figure.



Crystal Palace vs. Manchester City 31/12/17
Crystal Palace vs. Manchester City 31/12/17

I’m a bit torn by the awarding of any kind of prize where intangibles are weighed up by panels because everyone has innate bias; likes and dislikes. One of the rituals I used to go through as a youth in the mid-70s was to check the Melody Maker, NME and Sounds annual polls to see how the artists that I favoured fared. Some of the results ran counter to both my tastes and to reason, such as Gilbert O’Sullivan reaching no.2 in the Male Singer category and no.4 in the Keyboards category of the 1972 MM Readers’ Poll and I was somewhat bemused by some of the musicians ranked in ‘Miscellaneous Instrument’ because it didn’t tell you which particular instrument it was referring to for each artist and they could easily have been covered by one of the other categories.


The concept has been taken up by Prog magazine which, apart from holding an awards ceremony includes an annual 20 Top Albums of the Year feature where the results are culled from the preferences of the journalists themselves. Additionally, we were invited to vote in their annual reader’s poll, mimicking the format of the classic music papers during the 70s, with the results due out in the next edition. I’ve moved on a little since the 70s and though I don’t mind a list that is supplemented with a bit of information, the Top 20 Albums of 2017 as chosen by the writers at Prog magazine isn’t really my thing. However, I submitted some obscure choices for the Readers’ Poll so I will take a look at the published results.



New Year’s Day, 2018

After listening to one of my Christmas presents, the excellent Three Piece Suite retrospective by Gentle Giant, the first complete recording I’ve listened to for nearly a week due to work, football and family commitments, I thought I’d share some of ProgBlog’s category winners, based on material released in 2017 and the concerts I attended, material unlikely to get much of a mention in Prog...


Playing Three Piece Suite by Gentle Giant
Playing Three Piece Suite by Gentle Giant

(I got called out and got home a little before midnight)

Back to the blog. Tuesday 2nd January


Album of the year: An Invitation by Amber Foil

Strictly an EP, this is the creation of João Filipe, and it’s a wonderful, all-round and well balanced item. The music takes you back to classic 70s prog, blending very modern concerns with a kind of Grimm’s fairy tale. The quirkiness of the music is reflected in the CD packaging which also contains a ‘blueprint for a house’. It’s unique. Get yourself a copy.


Commended: Alight by Cellar Noise


Bassist: John Wetton

Wetton died in January 2017, the third original progressive rock bassist to pass away in the last couple of years. Whereas there are undoubtedly a large number of amazing technical players who were represented on record or I saw play live during 2017, the accolade has to go to Wetton for the unbelievably wide range of material he’s left for us, including some of the most inventive lines expressed during his time with the 1972 – 1974 incarnation of King Crimson. A great loss to the prog community.


John Wetton circa. Caught in the Crossfire
John Wetton circa. Caught in the Crossfire

Drummer: Franz di Cioccio

The only original member of PFM remaining in the band, di Cioccio now spends as much time behind a microphone acting as front man as he does behind his kit, but along with long-term associate bassist Patrick Djivas he’s steered the ship through periods of not-so-good music to produce their best album of original material for a very long time. Emotional Tattoos may not quite hit the heights of L’Isola di Niente and Photos of Ghosts (I think it lacks sufficient contrast) but the songs are strong and the playing assured. Di Cioccio’s boundless energy, with either sticks or mic stand in his hands, is something to behold.


Guitarist: Allan Holdsworth

Holdsworth is another progressive rock legend who died last year, though in reality he was probably more of a jazz guitarist whose fluid lines graced releases by Tempest, Soft Machine, Gong, Bruford and UK. Highly regarded by other guitarists, his style was idiosyncratic. He’s another fine musician who is sadly missed.


Keyboard player

There are actually too many excellent prog keyboard players to choose from. Of course it’s great to see Rick Wakeman performing classic Yes again with ARW but I’ve also been most impressed with up-and-coming talent from Italy like Niccolò Gallani from Cellar Noise and Sandro Amadei from Melting Clock.


Miscellaneous instrument: Mel Collins, King Crimson (flute, saxophones)

I’ve always considered this a category for non-conventional rock instrumentation, rather than picking a particular type of keyboard like Moog, Mellotron or synthesizer but it was fine when Mike Oldfield used to pick up the prize for playing everything. My preference for a prog-associated instrument not covered by bass, drums, guitar or keyboards is the flute, followed by violin; I was very impressed with Lucio Fabbri when I saw him with PFM and his playing on Emotional Tattoos is real quality but I’m going to plump for Mel Collins for his woodwind. Crimson may not have played the UK in 2017 but the set-list for the US gigs, released on vinyl and CD last year, highlights the formidable talents of Collins.


Vocalist: Emanuela Vedana, Melting Clock

I’m one of a fairly small number of people to have seen the two gigs by Melting Clock but I don’t imagine it will be too long before they reach a much wider audience when they release an album later this year. Their brand of symphonic progressivo Italiano would undoubtedly appeal to all fans of the genre, but two obvious reference points are Renaissance and neo-prog. The songs are highly melodic and well-crafted with multiple layers, utilising twin guitars and keyboards to set the tone for Emanuela’s strong, operatic vocals. Simply stunning.



Live act

Choosing a favourite live act is too difficult, so I’m not going to make a decision. I’ve managed to get to see quite a number of Italian bands from the 70s, including PFM at the fourth attempt, and seeing Wakeman, Jon Anderson and Trevor Rabin performing Yes music together was quite special, but it’s the surprises like Cellar Noise and Melting Clock, both of which included accurate early Genesis tributes in their sets, which make it impossible to decide on an outright winner.


Cellar Noise at the Legend Club, Milan
Cellar Noise at the Legend Club, Milan

Venue: Porto Antico, Genova

Choosing a favourite venue is equally hard. The acoustics inside neo-rationalist Teatro Carlo Felice in Genova are brilliant, but the architecture and the internal decor are terrible; the Royal Festival Hall is a great looking building, also with amazing acoustics but I was disappointed with the Dweezil Zappa set. I loved the intimacy of Genova’s La Claque whereas Rome’s Jailbreak Club was a bit too crowded over the weekend of the Progressivamente festival. Brighton Dome is a beautiful performance space though it can be a bit of a drag getting back from Brighton by car or public transport at the end of a gig.

A fantastic setting, good sound and a great line-up made the Porto Antico Prog Fest very special and it was only a 10 minute walk back to my hotel.









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