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, Mar 12 2018 10:28PM

The small group of family and friends that share my interest in prog can all trace their appreciation of the genre to the golden age. I grew up with almost all of them and most are regular gig companions but I was still blown away by their response when asked to submit their nine ‘life changing’ albums. Some just provided me with a list, one a list with bullet points and the remainder of the submissions were roughly along the same lines as my selection last week, including explanatory notes. My guidelines were deliberately woolly but included the following points: to list the nine albums that had the most significant impact on their lives, or were at least associated with significant events in their lives; to provide a short summary of their choice should they wish to do so; and to compile their choices before I revealed my own list, published the blog last week.

These are their 9 albums:



The albums are arranged in chronological order of their release. Thick as a Brick I didn't discover until about 1975 but is the best Tull, saw IA perform it in Newcastle a few years ago along with TAAB2. Close to the Edge is the best Yes and any prog album and one of my earliest discoveries. The Dark Side of the Moon still sets the bar and was another of my early favourites. Refugee is still Patrick Moraz's finest work along with Relayer. The Lamb Lies Down on Broadway is another early find and remains brilliant. Red runs close with In the Court of... as the best Crimson album but I chose it as it features Bill B. I got Harbour of Tears last year on holiday in Krakow and is as good as any Camel album. Dust and Dreams and Rajaz both from the 90s are also up there with their best work. AD 2010 I got on holiday in Sienna which was a great holiday made even better by this find and I have been seeking out other recent post-2000 PFM albums which are really good. Rattle that Lock is DG's best solo effort and compares favourably with any Floyd. I was very tempted to include a Water's Edge album for personal reasons but probably not prog enough! Number 10 would have been Aerie Faerie Nonsense by The Enid.

_______________________________


Days of Future Passed

A linked piece (concept) with varied writers and instrumentalists contributing to a fine album supported by a full orchestra, it was one the first pieces of progressive music I heard. Having grown up in a house where classical music was enjoyed by my dad, it was as if ' pop ' music was going somewhere and albums were works in themselves.

Argus

Loved the music, harmonizing guitars, lyrics and extended progressive middle sections. Although Wishbone Ash have a rocky sound at times, it had sustenance in its tracks and delivered open lengthy pieces.

Music Inspired by The Snow Goose

Had read the book and someone lent me the album. Hooked and to this day I enjoy it as much as ever. The sounds and progression! A great work.

Tubular Bells

One man's concept album or was it? But life was never the same after hearing this and subsequent albums were certainly more fluid and impressionistic. It was different!

Nursery Cryme

Ahh, Genesis. Perhaps the one band I committed to wholly. This really was 'fantastic' music, story-telling, picturesque, album after album but it started for me with Nursery Cryme in the mid 70s.

Tales from Topographic Oceans

Of all the YES albums, I came to this first! Fascinated by the other worldliness of its sounds, by the album sleeve and its escapist, visionary nature. You travel with the music.

Brain Salad Surgery

I had a friend who had Pictures at an Exhibition (I knew the classical work) and had enjoyed it, then this. Big, brash, funny and a moment of sublime love (or so it seemed to a teenage girl). Played my dad Jerusalem over a cup of tea. Even my sister (not her usual stuff) played it ...well, some of it. You had to be in the mood to go through all the three movements of Karn Evil 9 but it anchors me to a time and place.

Meddle

I'd had an amazing first listen to Dark Side of the Moon; lights out, candles lit, a group of us listening in an attic bedroom but it was Meddle that I returned to in 1975 as a soundscape when revising for my O Levels. Experimental, varied influence, perhaps no real concept but some tremendous pieces. A favourite to this day.

The Condensed 21st century Guide to King Crimson 1969-2003

Essential inclusion for me and with thanks to [ProgBlog]. I had heard In the Court of the Crimson King at parties (the lads in a room wowing at whatever) but it is, criminally, only in relatively recent times that I've immersed myself in KC as a unit and this collection is stunning. This may has enhanced my prog listening. Am still on that journey.

________________________________


The albums represent: 1st single purchased; 1st album purchased; 1st prog album I heard; 1st gig attended; 1st album heard at Uni; 1st CD purchased; 1st double album purchased; favourite prog album; favourite prog track; favourite album cover; favourite album; favourite non-prog album; album with the most versions in my collection (vinyl, half-speed remastered vinyl, hi-res 24 bit download, CD, picture disc CD); album I play the most often (but not necessarily my favourite)

________________________________



Pink Floyd – The Dark Side of the Moon

The very first album I bought, second hand from Paul Thompson for £3.50 in 1980, mint condition with the posters and stickers. What a way to start your music listening career! The first album being prog-related set a tone for the music I got into in the immediate years following, and a lifetime of listening beyond that.

Jethro Tull – Repeat the Best of Jethro Tull Vol.2

A 14th birthday present from [ProgBlog] and Bill Burford. Having struggled a little at first with the Songs from the Wood album this pulled me in hook, line and sinker. Several years of Tull obsession followed. A very good compilation from the classic Tull prog years.

Martin Stephenson & The Daintees – Gladsome Humour & Blue

“Who?” you may ask. A former carpet fitter from Washington, Tyne & Wear, that’s who. Rather like Dark Side, an album written by a man with immense maturity for his tender years. Heart melting stuff bought second hand at the record shop in the Newcastle University student union. Martin’s almost a shaman character, who shunned the majors for a simple life doing music his way, which he still does to this day from the Highlands of Scotland.

Johnny Cash – American III Solitary Man

Early 2000s, I’d heard Folsom Prison and thought it was quite quirky, so bought this on the hop for a fiver at Fopp. The (on the face of it) bizarre collaboration of hip hop producer Rick Rubin and Johnny Cash produced heavily stylised recordings that turned ok originals into probably the most dramatic music I’ve ever heard.

Various Artists – The Best of Blue Note Vol.1

Introduced me to the world of Blue Note, and very heavily influenced the next ten years of listening and purchasing. Included the Donald Byrd version of Cristo Redentor, a beautifully pure trumpet tune with eerie backing “woos” (not words as such) from a gospel choir. A song which will be played at my funeral. Included other future faves like Horace Silver and Art Blakey.

Genesis – Live

Bought this for a pound off John Carrott, when he was selling his albums. Played to death then replaced on CD. Played very frequently to this day, and I keep hoping they’’ issue an expanded version one day. Five songs, all great, but side 2 with The Musical Box and The Knife is surely one of the greatest sides of music ever issued.

Gil Scott-Heron – The Revolution Will Not Be Televised

A 1974 compilation bought at Hitsville in Newcastle. Poetry meets jazz meets funk meets politics meets human rights. A pioneer of rap from the late 60s, but with really strong messages, from the very raw at the start to really sophisticated pieces near the end.

Various Artists – First Time I Met The Blues

I’d started seeing some live roots music, then picked up this Chess compilation, which led me to Howlin’ Wolf, Muddy Waters and Chicago blues that had come from the fields originally, very raw black music, the punk of its day.

Various Artists – Blue Brazil

A Blue Note compilation of very melodic Brazilian jazzy numbers, laced with fantastic rhythms and beautiful voices. Strange because none of the music had been released on Blue Note originally. Set off another investigation into rhythmic music from other countries that picked up some things I already liked including funk rhythms and jazz, Afro-centric music, and pulled at my own South American heritage (albeit much more interesting music than the native stuff from Chile and most of South America).

I know these compilations are cheating a bit, but they’re random purchases that opened doors.

________________________________


A Nice Pair – Pink Floyd.

This release of the first two Floyd albums was my real initiation into music that was to become ‘mine’. Although I had heard my brother playing albums in his bedroom in the early 1970’s it wasn’t until I was played A Saucerful of Secrets in a music lesson at school that I began discovering music outside the charts. I will forever be thankful to that teacher, Mr Peter Nurse.

Evening Star – Fripp & Eno.

I first heard this when visiting my brothers flat. The music had an otherworldly quality that resonated with me and indeed still does.

Tubular Bells – Mike Oldfield.

This is an album I remember hearing my brother play and it became one of the first albums I bought, the first was actually Hergest Ridge also by Oldfield. However, if I hadn’t heard this album as much as I did I’d never have bought Hergest Ridge. It’s not my favourite Oldfield album, that remains Ommadawn, but without it, a love of instrumental music may never have been forged.

Journey to the Centre of the Earth – Rick Wakeman

This one album sparked my love of electronic keyboards and synthesisers. I was introduced to it by a friend called Richard Key who used to give me lifts when we went to fishing matches. One day on our return he invited me in to hear this album and I was hooked. Much was to follow from that day.

Close to the Edge – Yes

Having discovered Mr Wakeman it didn’t take long to discover Yes. This remains the quintessential progressive rock album to me and the best that Yes released. Other individual Yes songs may have come close, The Revealing Science of God, Gates of Delirium, Awaken, Starship Trooper and Heart of the Sunrise immediately spring to mind but this album had it all in just three songs.

The Dark Side of the Moon – Pink Floyd

This is another album that isn’t my favourite from the band, that would be Wish You Were Here, but when I first got the album, bought as a Xmas present on cassette, I played it to death. I’ve since had the album on vinyl and CD (4 times) and I never tire of it.

Phaedra – Tangerine Dream

I believe I first heard this album in the ‘Tracks’ record shop in Royston where I grew up. The guys in the shop were beginning to suggest albums to me knowing my interest in electronic keyboard based music and the decision to purchase was immediate when I heard the sequencer kick in. This has been a really important album for me and gets played at least once a month even now. It may not be as technically proficient as subsequent albums but it retains a distinct charm all of its own.

Oxygene – Jean Michel Jarre

This was another of those albums that just had to be bought once I’d heard the single from the album, Oxygene IV. This was really accessible electronic music which couldn’t be said so easily of Tangerine Dream. I’ve followed Jarre’s career ever since. He’s released some real duds in the last 40 years but Oxygene is an electronic music classic and is another of those albums that I still get real enjoyment out of listening to.

Deadwing – Porcupine Tree

This was my introduction to both Porcupine Tree and Steven Wilson who has since become a very important musical personality in my listening. Strangely, I only started to find out about the group when I discovered that Robert Fripp would be the support artist on the second UK leg of the Deadwing tour. As I wanted to see Fripp performing his soundscapes live I thought I’d find out more about the group he was supporting. I’d be a lot richer now if I hadn’t bothered but I’m so glad I did. I now have nearly every album that Steven Wilson has released either with Porcupine Tree, as a solo artist, with Blackfield, Bass Communion or No-Man. Tickets for four gigs on the upcoming UK tour might give an indication of how important his music is to me

________________________________



Yes - Close to the Edge

Yes - Relayer

King Crimson - Larks' Tongues in Aspic

King Crimson - Starless and Bible Black

ELP - Trilogy

Miles Davis - Kind of Blue

Miles Davis - Star People

Camel - Music Inspired by The Snow Goose

Focus - Best of Focus

________________________________



Probably think of some album I'd rather include but can't check record collection. All oldies, number 1 has remained so since age 14, the others might move about a bit

1) Close to the Edge

2) Larks' Tongues in Aspic

3) Fragile

4) Tales from Topographic Oceans

5) Starless and Bible Black

6) Nice

7) The Dark Side of the Moon

8) Pictures at an Exhibition

9) The Lamb Lies Down on Broadway

_______________________________

The group of respondents, including me, have an age range of 47 – 61; the mean age is 56 and the median age is 58. Six of the group spent their formative years in a relatively close-knit community, separated by only a very few houses and three of the six are closely related; one is from the Birmingham area, one from a small town in Hertfordshire and one from Leeds. More importantly, the musical tastes of this cohort don’t appear to have changed during the intervening years. With the exception of one respondent, all were teenagers at a time when progressive rock was a recognised and commercially successful genre, though competition from other musical styles was fairly restricted to outright pop (appealing to the predominantly pre-pubescent), blues-based rock, glam-rock and soul; my household was filled with a wide spectrum of jazz and at least one household featured a range of classical music. The oft-observed gender imbalance of prog fandom is evident here, with only one of the eight being female.


What comes across that respondents were discovering music which has informed their choice; most have stuck with the music of their teens but there is an element of tastes branching out. The influence of older siblings and friends is also clear, so that both Close to the Edge and The Dark Side of the Moon albums feature heavily but different examples of works by ELP, Genesis, King Crimson, Pink Floyd and Yes, five of the leading exponents of prog, are scattered throughout the lists, potentially indicating personal preference for one of a band’s albums over another. The degree of homogeneity between respondents is further demonstrated by Camel, Focus, Jethro Tull, Mike Oldfield, PFM and Tangerine Dream all appearing in more than one list.

There’s also an indication that some of the choices aren’t the favourite albums by a band, though they still appear in the list. My personal choice wouldn’t all be in my favourite nine albums as I prefer Hamburger Concerto to Focus 3, Refugee’s self-titled LP from 1974 would be in my top five and however good Starless and Bible Black may be, I like In the Court of the Crimson King, Larks’ Tongues in Aspic, Red and USA even more. I looked upon each choice as a gateway to further discovery so that I couldn’t include Refugee or Snow Goose or any Genesis.


Thanks to everyone I asked for their nine albums for their illuminating replies – you know who you are.










By ProgBlog, Dec 11 2016 08:03PM

It’s interesting to see how progressive rock faces the future. One of my latest gig attendances was for newcomer act ESP launching their debut CD Invisible Din, though the combined pedigree of the performers both on the new album and those playing live hardly warrants the ‘newcomer’ tag. ESP performed an updated symphonic prog rock which acknowledged some of the most influential movers from the first wave of prog but still managed to sound relevant and contemporary, not unlike some of the newer Italian bands, expressive and almost operatic. The stylistic contrast with Lazuli, who I witnessed at London’s Borderline last week could hardly have been greater. Lazuli have been around since 1998 and are well known and respected in their native France and around mainland Europe but have not had very much exposure in the UK, despite wowing crowds at Summers End in 2011 and 2013. Their music falls within the prog sphere but it is closer to the Peter Gabriel end of the spectrum, more akin to world music, especially their take on North African sounds and scales. Somewhat surprisingly given the heavy edge to much of their material and subject matter which includes a message supporting the cause to end violence against women and an indictment of the rise of the right-wing in France, it has an infectious joyfulness. Lazuli first came to my notice when I saw them at the Prog Résiste festival in Belgium in 2014 and it was quite obvious they were not only unique but that they had a devoted following on the continent so I wrote to Prog magazine to tell readers to make sure they went to see them when they next played in the UK. It’s likely that Lazuli will get a live review in the next edition of the magazine but ESP, who did have a Prog Italia journalist and photographer in attendance, have had neither an album nor live review.


Lazuli at The Borderline 5/12/16
Lazuli at The Borderline 5/12/16

From the recent to the beginning

If we accept that the progressive rock genre started in 1969 it’s hardly surprising that, given there have been 46 intervening years, a number of the main protagonists should no longer be with us. The prog world has once more been rocked by the death of one of the most important members of the prog family, Greg Lake, who succumbed to cancer earlier this week.

Lake’s influence can’t be underestimated. As a member of the first incarnation of King Crimson, it could be argued that he was one of the five young men at the vanguard of the movement, the coalescence of a musical idiom which was served fully formed as the LP In the Court of the Crimson King but also, according to music journalists and critics, a perpetrator of excess and pretentiousness, one of a handful of individuals responsible for the downfall of the genre at the end of the 70s. I first heard him on the self-titled ELP debut which I originally picked up because I was interested in Keith Emerson’s career development following the demise of The Nice. Emerson, Lake & Palmer remains one of my favourite albums, where despite my adoration of Emerson’s previous musical vehicle, there’s a noticeable qualitative improvement and cohesiveness on the first ELP album. This can be partly ascribed to the nature of the Nice albums, where The Thoughts of Emerlist Davjack (1967) was really psychedelia and Ars Longa Vita Brevis (1968) a mixture of psychedelia and proto-prog; these two albums are entirely studio efforts but suffer from poor production. The subsequent three albums Nice (1969), Five Bridges (1970) and Elegy (1971) all contain a mix of studio and live tracks. Although, in my opinion, Emerson Lake & Palmer is dominated by Emerson, in recognition of the status of the bassist and the drummer, both having come from successful bands, the contribution of Lake and Palmer is essential to the sound and feel of the album. Lake’s crystal clear voice was key to the sound of the first Crimson LP and made ELP far more accessible than The Nice, where Lee Jackson took on main vocal duties. Though all members of the band seemed happy with adaptations of classical pieces I’d always credited Emerson as the main proponent, balanced with the acoustic sensibility of Lake. Take a Pebble ticks all the right boxes for me by virtue of the amazing piano and the ensemble playing and if I’m honest I could live without the solo acoustic sections. Lucky Man is a different kettle of fish, where Emerson’s Moog is simply the icing on a near-perfect song. His experience with King Crimson coupled with reluctance from Emerson and Palmer to get involved meant that record production duties became the responsibility of Lake; the result is a well-balanced sound on the majority of the tracks tough I find The Three Fates a bit muddy. It’s clear that there were personality clashes between Lake and Emerson and initial splits over the direction of Tarkus (1971) seemed quite serious. Fortunately, Lake got on board and the Tarkus suite has become one of my most admired ELP long-form pieces, but there’s a lack of consistency on side two. Trilogy (1972) suffers from a similar fate, where the longer tracks are brilliant but there’s an abundance of shorter, throw-away music.

I suspect the mix of the serious, multi-part compositions and the short, not necessarily progressive rock songs was part of the reason for ELP’s success, where they could attract both the prog crowd and more adventurous rock ‘n’ rollers. I also think that the approach of ELP helped to bridge the gap between popular and classical music, introducing a new generation to the delights of Sibelius, Tchaikovsky, Mussorgsky and Bach but also opening our eyes to Copland and Ginastera. Brain Salad Surgery (1973) was a more consistent album but the production was thin and biased towards the treble. The triple live Welcome Back My Friends... (1974) may have been a triumph but the years spent touring, putting on huge shows with equipment unloaded from three articulated lorries, became another stick with which to beat the band as the music industry was changing in their absence; ELP’s excess was in stark contrast to the pared back ideology and sounds of punk. Even I wondered about Lake’s ‘plutonium’ bike mentioned in one of the music papers! All of this meant that the pretentiously-titled Works Vol.1 (1977) was hardly likely to be greeted with open arms by the critics. The band material was good but I thought it was spoiled by Emerson’s predilection for the Yamaha GX-1. I loved his Piano Concerto but much of the writing on the Lake and Palmer sides wasn’t really up to scratch and as a whole, the double LP was a bit like Fragile taken to extreme.

After Works Vol.1 I gave up on ELP, foregoing Works Vol.2 and Love Beach and not realising the three protagonists had toured in 1992 having reformed for Black Moon. The live album recorded at the Royal Albert Hall captures the band back on form and I wish I’d paid more attention to listing magazines at the time. I went to see Greg Lake at the Fairfield Halls in 2005, based on the mooted set list and was very pleasantly surprised. His voice wasn’t as clear as it had been 30 years previously but his band performed admirable versions of ELP and King Crimson numbers.

I finally got to see ELP at the High Voltage festival in 2010 on the 40th anniversary of their debut album which featured prominently. Despite a couple of minor problems they were totally amazing and I’m really pleased to have been there because it turned out to be their last ever gig.

I’m not a fan of the 45rpm single but, like many prog fans, I have a soft spot for Lake’s I Believe in Father Christmas – Lake and Sinfield at their concise best with a bit of Prokofiev thrown in. Lake is likely to be remembered for this single more than his contribution to progressive rock but he was there at the beginning of prog and shaped those early years with his choirboy voice, deft bass and acoustic songs. His death marks another major loss to the prog world.




Greg Lake b. 10th November 1947 d. 7th December 2016







By ProgBlog, Mar 13 2016 10:34PM

Already 2016 seems to have been blighted by more high-profile musician deaths than previous years. I was still reading articles about Sir George Martin’s legacy as late as Friday last week when news began to filter through about Keith Emerson. Is the death of a septuagenarian rock musician especially surprising? As I type this the single rumour that his death might have been suicide has gained more credence and though tragic for family and friends who might think they could have done something to prevent such an horrendous outcome, it comes across to this fan in the UK as shocking; the world of prog has lost a genuine pioneer.

After Yes, The Nice was the next band I became familiar with and though this was in late 1972, two years after their demise, it was before I discovered Emerson, Lake and Palmer. The Page family Nice collection was acquired in roughly reverse chronological order, beginning with either Elegy (1971) or Five Bridges (1970.) Tony was responsible for these purchases and it was only when I was a student in London that I bought my own copies. I remember that Nice (1969) was relatively difficult to come by; we called this album ‘red cover’ to distinguish it from the other releases as well as the group itself even though it had an ‘official’ alternative title, Everything as Nice as Mother Makes It. My copy of The Thoughts of Emerlist Davjack (1967) was a 1976 reissue on the Charly label with a Magritte-like cover illustration of a grand piano breaking through ice, credited to P Larue (Patrice Larue?)

I’d class most Nice material as proto-prog but the first two albums, Thoughts and Ars Longa Vita Brevis (1968) are psychedelic, with a link to another early British psychedelic act, Pink Floyd, through guitarist Davy O’List who stood in for an incapacitated Syd Barrett. The short songs are largely throw-away, not as original or as good as the early Floyd efforts, but Rondo, War and Peace and Dawn hinted at the greatness to come. Keith Emerson’s ability to blend jazz, rock and blues with classical music was the basis of the success of the Nice and subsequently, ELP. Whereas Pink Floyd developed space rock and dallied with the avant garde, Emerson took another route: rocking the classics. Equal parts virtuoso and showman, Emerson stood out as the first important keyboard player in rock; having ousted guitarist O’List as unreliable he showed that a keyboard trio was equal to any guitar-based band and influencing a number of other fledgling progressive acts. Bassist Lee Jackson and drummer Brian Davison were solid enough and would later show they were more than capable in Refugee with Patrick Moraz but the Nice was really all about Emerson. The Dylan adaptations were barely recognisable as songs by Bob Dylan, who I didn’t like but She Belongs to Me was a bit of an epic in the hands of Emerson, Jackson and Davison; Country Pie on the other hand was only acceptable because of the inclusion of Bach. The classical excerpts morphed into rock interpretations of lengthier pieces, so that the intermezzo from The Karelia Suite by Jean Sibelius, the tune used for the current affairs TV programme This Week became a staple live number and forms the track of main interest on side one of Ars Longa Vita Brevis, acting as a neat prelude to Emerson’s first recorded orchestral piece, the title track taking up the entirety of side two; there’s a naivety about this composition and it’s not really helped by poor production but I really like it.


If the Nice helped Emerson cut his arranging skills they were perfected early on, with more challenging compositions, in ELP. Their eponymous debut album remains high up in my personal prog top 10 and though I do like Take a Pebble and Lucky Man, it’s for the beautiful, flowing piano and the marvellous Moog respectively. Emerson may have dabbled with the modular Moog while still with the Nice and played the instrument from the beginning with his new trio but it’s on Emerson, Lake & Palmer (1970) where it makes its stunning first recorded appearance. Emerson’s ‘sound’ was defined as much by his synthesizer work as his organ or piano and the use of the ribbon controller allowed him to incorporate showmanship into his Moog playing, in the same way that attacking his L100 with knives and wrestling it to the floor or playing it from behind demonstrated his incredible ability on organ or sitting at a piano that revolved around in the air enhanced the live performances. School friend Keith Palmen was converted into a big ELP fan and it was probably at his house that I first heard Pictures at an Exhibition (1971), a brilliant example of both the excitement that the band could generate live and of the interpretative skills of Emerson.

In 1973 or ’74, when I started to become interested in ELP, I became aware how ELP divided opinion, such that my original vinyl collection included second-hand copies of Tarkus (1971), Pictures, Brain Salad Surgery (1973) and Works Volume 1 (1977) as disgruntled friends decided they’d outgrown the bombast and turned to either punk or smooth jazz. It could not be disputed that the 1974 tour promoting Brain Salad was something of a monster because it was turned into a road documentary and a triple live album. The version of Aquatarkus on Welcome Back My Friends to the Show That Never Ends (1974) remains one of my favourite ELP tracks; the solid rhythm of Palmer and Lake allows Emerson to really shine on organ and Moog, reminiscent of the backing provided by Jackson and Davison in the Nice.

The subsequent studio hiatus signalled the beginning of the end for ELP; while they toured and rested punk was hoiking over music fans. ELP came back strongly with a pretty good effort but the decision to allow one side of the double LP Works Volume 1 to each of the members and only one side of real group collaboration may, on reflection, have been the wrong approach. Emerson’s Piano Concerto No.1 is very enjoyable, building on his previous orchestrated pieces with the Nice and reflecting his admiration for Aaron Copeland but the ELP side has an updated sound, coming from the Yamaha GX1. Emerson is reported to have been quite smitten with this keyboard, eschewing Moog and organ on side 4 in favour of the new piece of technology. I find the sound thin, like so many late 70s and early 80s synthesizers, and would have preferred it if he’d stuck to his analogue instruments.

Having been unaware of the Royal Albert Hall gig in October 1992 that resulted in the excellent Live at the Royal Albert Hall (1993) I thought that I’d never get to see them play live. I’d managed to get to see the reformed Nice during a period of ELP disbandment in 2003 at Croydon’s Fairfield Halls, the venue for the recording of much of Five Bridges where the band were augmented by guitarist Dave Kilminster. Though at times the sound was quite poor and there were problems with Emerson’s Moog, it was a fantastic occasion, with the performance divided into a Nice portion and an ELP portion where Jackson and Davison stepping back to allow two other musicians to take over on bass and drums.

I finally got to see ELP at the High Voltage festival in 2010, the 40th anniversary of the debut album and though I’d have preferred a more intimate venue than London’s Victoria Park, it was an occasion not to be missed. The music was incredible and the atmosphere was rather special at this huge event. This would be the last time that the three would play together.



Jim and I went to see the Keith Emerson Band with the BBC Concert Orchestra at the Barbican last year, the highlight of which was an orchestrated Tarkus, but it was good to see Emerson taking the conductor’s baton for the encore Glorieta Pass. I believe this was Emerson’s last ever concert performance and though he seemed to relish his raconteur role as much as his musical contribution, he did appear somewhat unsteady. If it’s true that there were no more live concert appearances, I feel quite privileged that I attended two significant events, even though I missed out on classic ELP back in 1974 and only discovered the Nice two years after they’d broken up.



Emerson was an inspiration to keyboard players. He will be sadly missed.


Keith Emerson b. 2nd November 1944 d. 10th March 2016



By ProgBlog, Nov 1 2015 10:16PM

I went to a The Guardian Masterclass event a couple of weeks ago, How to self release your own music, hosted by Ian Ramage and Ann Harrison, to get some information and inspiration for putting out my own CDs. These events, mostly held in The Guardian offices in Kings Place, part of the regenerated King’s Cross area, are well organised and well attended by individuals with a range of interests relating to the topic, and sensibly priced. The first Masterclass I attended, in an attempt to broaden the reach of this blog, was How to write a successful blog. There were 100 delegates with a spectrum of abilities from those with little understanding of blogging to those who were interested in more efficiently monetising their efforts, with me somewhere in the middle; I learned enough to start a Twitter account and since then ProgBlog appears to have gone from strength to strength. Though not as popular, the audience for How to self release your own music was comprised mostly of musicians but there was at least one person who ran a recording studio; the presenters seemed a little surprised that there was no one from the music industry. Apart from being a music fan, Ramage’s encyclopaedic knowledge of music had been built up from rising through the ranks and working at a number of companies including Polydor, Warners, EMI, and Sony. Harrison was there to cover the legal aspects; a qualified lawyer, she has worked with household names and has her own legal consultancy, Harrisons Entertainment Law Limited and is the author of Music, The Business (Virgin Books) that was plugged on a number of occasions. The two speakers had a good rapport and overall, I was very pleased I’d attended. After discussing performing rights it became very clear why the Yes Union tour was such a nightmare for the musicians – I recall it wasn’t too bad for those of us the audience and I enjoyed most of the music played by the two versions of Yes although some band politics were still evident.

Another topic that was touched upon was the role of the producer who could be someone who booked the studio or had some degree of creative input. This came to mind when my last Walkman ceased to function, playing Tormato. Wakeman’s keyboards have no substance, lacking both bass and sparkle and White’s snare drum tone has no snap, as though the final production stages were rushed or the band was not given any control over the final sound, even though Yes are credited as producers – Brian Lane has a credit for ‘executive producer’ and I find it hard to believe, after the excellent sound and mix on their previous albums, that they can have been happy with the dull, compressed finished product. The sleeve design by Hipgnosis was certainly contentious; originally intended to be called Yes Tor, fitting in with some of the material on the record, the title was changed following dissatisfaction with the artwork which prompted someone, either Wakeman or Aubrey Powell, to throw a tomato at the cover. Steve Howe, who came up with the Yes Tor idea has been described as unhappy by this turn of events and I side with him. There’s something cosmic about divining (even though I think it’s nonsense) and Yes ideas were indisputably cosmic; linking the second highest point in Devon to a possible beacon for UFOs seemed a reasonable concept (even if it too was unscientific and beyond reason), not fully realised. My least favourite track is Release Release which features some double tracking on the drums to give them a fuller sound and the noise of a crowd. No. Bad idea.

Eddy Offord had worked with the band on some of the original ideas for Tormato but is not credited. Having been the recording engineer for Time and a Word (1970), an album produced by Tony Colton, Offord and the group co-produced the sequence of albums from The Yes Album (1971) to Relayer (1974), a sequence that many consider to epitomise not only the best of Yes but a considerable proportion of the golden era of progressive rock. The clarity of instrumentation on Fragile (1971) and Close to the Edge (1972) are testament to an incredible working relationship. Offord was also hired as a recording engineer for the early Emerson, Lake and Palmer albums, their eponymous debut from 1970, Tarkus (1971), the live Pictures at an Exhibition (1971) and Trilogy (1972), where production duties were in the hands of Greg Lake. Offord did not help out on Brain Salad Surgery (1973) where are I find the sound clear but biased towards the treble. Chris Kimsey (who was famous for his work with the Rolling Stones) and Geoff Young shared engineering duties on Brain Salad; Offord was immortalised in the song Are You Ready Eddy? which appears on Tarkus, a track I tend to skip..; Yes put Offord's photo on the back cover of Close to the Edge. A quick check through my albums reveals that Offord changed from 'Eddie' to 'Eddy' some time in 1971, between Tarkus and Pictures at an Exhibition and between The Yes Album and Fragile.

If the classic Yes sound is partly due to input from Offord, what about other bands from that period? King Crimson were self-produced because they weren’t happy with Moody Blues collaborator Tony Clarke, (Giles Giles and Fripp released The Cheerful Insanity of Giles, Giles and Fripp on Decca’s Deram label in 1968, the Moody’s pre-Threshold stable), one of the reasons why Lake went on to produce ELP. In the early years Charisma Records label mates Genesis and Van der Graaf Generator (and Rare Bird and Lindisfarne) were produced by John Anthony. This wasn’t an act of control by the label, which generally ceded all creative control to the bands themselves, it was a collaborative approach where the ideals of producer Anthony fitted in with both Stratton-Smith’s sensibilities and the ideology of the groups. The compositions of both Van der Graaf and Genesis matured rapidly under this guidance, until VdGG split in 1972 and self-produced when they reformed with a trilogy of sonically well balanced albums, Godbluff (1975), Still Life (1976) and World Record (1976.) Foxtrot (1972) was produced by David Hitchcock and demonstrated a harder edge than Nursery Cryme (1971.) Hitchcock had worked extensively with Caravan and would go on to produce Camel’s Mirage (1974) and Music Inspired by The Snow Goose (1975.) Genesis would utilise the experience of John Burns for subsequent releases Selling England by the Pound (1973) and The Lamb Lies Down on Broadway (1974) and then form a creative relationship with David Hentschel for post-Gabriel albums A Trick of the Tail (1976) to Duke (1980.) The jazzy Camel albums Moonmadness (1976) and Rain Dances (1977) were co-produced with Rhett Davies.

I’m a big fan of Mike Vernon’s work with Focus, another producer who demonstrates that collaborative working gives the best results. Like Yes in the Eddy Offord years, there’s a particular quality that demonstrates the care taken over the music but also reveals a distinct sonic signature. When Yes changed their sound and image for 90125 (1983), it was to fit in with a more commercial music industry; the business had changed and self-production was frowned upon because it represented a loss of control by the record label. I think that the forced abandonment of cooperative principles, shared ideas and ideals was part of the grand design of the industry; record deals were harder to come by and relinquishing control of at least part of the process was a price that almost all bands had to pay. Pink Floyd were one exception; having self produced since More (1969), albeit with executive production by Norman Smith until Meddle (1971), they had enough clout to continue to call the shots. I believe the leverage applied by the record label was in most cases a destructive force, stifling creativity and narrowing the types of music that were available to listen to. Thankfully, the new wave of prog has managed to break free of the rule of the majors and though new acts aren’t likely to get rich without compromising their principles, there’s a strong relationship between the musicians and producers that mimics the ethos of 70s prog.



By ProgBlog, Mar 29 2015 07:01PM

Early in the new millennium, when progressive rock was emerging from underneath rocks and dragging itself out of slimy ponds, I discovered that Gina Franchetti, the wife of my university friend Mark Franchetti, was into prog in a fairly big way. This came as something of a surprise because I was only aware that Mark’s taste in music was very different from mine, with what I recall as being a penchant for rock ‘n’ roll of the late 50s and early 60s.

Gina’s collection was centred around reel-to-reel tapes that remained, to a greater degree, inaccessible and, in an effort to rekindle her passion for odd time signatures and Jon Anderson flights of fancy, I offered to put together a couple of CDs (the noughties equivalent of the mix tape) to cover as wide a range of classic prog as possible with a short explanation why I’d chosen the included tracks, prefaced by a brief ‘what is prog?’ Conforming to the most logical arrangement i.e. alphabetically, by band, I put together the following:

CD1. 1) Mockingbird (Barclay James Harvest); 2) First Light (Camel); 3) Virgin on the Ridiculous (Caravan); 4) Trilogy (Emerson, Lake & Palmer); 5) The Last Judgement (The Enid); 6) Anonymus (Focus); 7) The Fountain of Salmacis (Genesis); 8) On Reflection (Gentle Giant); 9) Lucifer’s Cage (Gordon Giltrap); 10) Pilgrims Progress (Greenslade); 11) Juniper Suite (Gryphon); 12) Minstrel in the Gallery (Jethro Tull)

CD2. 1) Easy Money (King Crimson); 2) 3rd Movement Pathetique (The Nice); 3) The World Became the World (PFM); 4) Time (Pink Floyd); 5) Papillion (Refugee); 6) Opus 1065 (Trace); 7) Rendezvous 6.02 (UK); 8) White Hammer (Van der Graaf Generator); 9) Arrow (Van der Graaf Generator); 10) Awaken (Yes)


Why this selection? The easy answer would be that it fitted very neatly onto two CDs. Perhaps that is the most satisfying answer, because the way you define prog has an influence on choice. I stuck to the premise that prog was largely, but not exclusively, a European phenomenon, centred in the UK; I included Focus, Trace (both from the Netherlands) and PFM (Italy) to highlight important continental influences on the genre. Another easy answer would be that these groups formed the core of my collection at the time, before I’d accrued disposable income and before I actively began to fill in the gaps; some of the recordings were transferred to digital from the original vinyl. I have a fairly conservative view of what constitutes prog (the only instance I’m ever going to be associated with that word) but progressive rock was genuinely a broad church and in the intervening period it has arguably become a lot broader; looking back at the list after ten years I think my choice stands the test of time. It’s not a ‘best of’ or my personal top 22 but I did put a great deal of effort into the selection balancing how representative each track was of each band within the constraints of an 80 minute CD.

Around this time the music industry and the marketing world had woken up to the fact that forty- and fifty somethings had significant buying power and hooked into the phenomenon of cyclical fashion. Recognising that prog had shaken off its pariah status they cynically released the first of a batch of compilation albums, triple CD The Best Prog Rock Album in the World... Ever! (complete with imitation Roger Dean cover) just in time for father’s day 2003 and Daryl dutifully bought it for me. That selection included some material that I wouldn’t class as prog (Be Bop Deluxe, Deep Purple, Electric Light Orchestra, Hawkwind, Man, Roxy Music) but the album was released by Virgin/EMI which explains why Kevin Ayers, Egg, Hatfield and the North and Steve Hillage were prominently featured. There was no King Crimson.


Barclay James Harvest were the first band I went to see outside Barrow, playing at Lancaster University on the Time Honoured Ghosts tour. On the strength of the performance, I bought the album BJH Live. Mockingbird is a quintessential BJH track, played as the encore at concerts which combines many of the elements that make up prog.

First Light is second-phase Camel but it neatly encapsulates their sense of tasteful, melodic prog. The success of Snow Goose and Moonmadness is not diminished by this relatively short track that opens Rain Dances.

Selecting a Caravan track proved quite difficult. I regard much of the Pye Hastings material as being filler unless it forms a multipart suite. Virgin on the Ridiculous had not been recorded prior to the live performance of Caravan and the New Symphonia and this is one of Hastings’ finer efforts with less of the schoolboy humour and a more symphonic feel.

Hoedown is archetypal ELP because it is one of their classical adaptations – Emerson named his son Aaron after Hoedown composer Aaron Copeland. It covers ground that had been laid out in his days with The Nice, possibly to the chagrin of Lake, whose acoustic ballads are far too throwaway for me.

I’d followed the fortunes of The Enid since their arrival on the prog scene with In the Region of the Summer Stars from 1976. Last Judgment is from this symphonic masterwork.

I shunned the popular and successful Hocus Pocus and Sylvia in favour of a more complex but no less pleasing offering from Focus, Anonymus [sic] from their first album, a track that indicated how successful they would become.

The Genesis track had to incorporate the classic line-up and I decided on The Fountain of Salmacis from Nursery Cryme because I regard it as a forgotten gem. With its mythical concept, alternating passages of pastoralism and rock sections and dramatic Mellotron, this was the first Genesis track that I remember hearing.

Gentle Giant cover a wide range of styles but I chose a track from one of their more accessible works, On Reflection, from 1975’s Free Hand. This particular song features trademark Giant vocal acrobatics and has a more medieval vibe than most other material from Free Hand (excepting Talybont) and includes plaintive recorder and delicate tuned percussion.

Folk musician Gordon Giltrap caught the zeitgeist and produced a series of folk-inflected symphonic prog albums beginning with the William Blake-inspired Visionary from 1976. Lucifer’s Cage is the rockiest of the compositions and at a little over 4 minutes is probably the longest track on the album.

Greenslade evolved from the British Blues explosion and were unusual. if not unique, for their twin keyboard player line-up and lack of a guitarist. Though the Dave Lawson lyrics are very clever, I prefer their instrumentals. Pilgrims Progress [sic] showcases the entire band but is a standout track by virtue of some chilling Mellotron.

Gryphon were comprised of former Royal College of Music students who blended medieval folk tunes, classics and pop tunes all played on unusual and early instruments. Their compositions developed in line with the spirit of progressive rock and Juniper Suite is a good example of early music goes rock.

Stand Up may have indicated the future direction of Jethro Tull but I’m not over impressed with their catalogue until Thick as a Brick. Minstrel in the Gallery is an under-rated album and the title track balances their folk leanings with some heavy prog, something that would become an accepted formula for tracks on a number of subsequent albums.

What King Crimson track should be included? Possibly the hardest choice of the project, I plumped for Easy Money because it best represented the hidden power of the band that was unleashed when the band played live.

Referring back to Keith Emerson’s predilection for interpreting classical compositions, the track for The Nice was Tchaikovsky’s 3rd Movement Pathetique, the band only version that appears on Elegy.

PFM were the first progressivo Italiano band that I heard. The World Became the World, the title track from the English language version of L'Isola Di Niente is short but perfectly formed.

The progressive phase of Pink Floyd doesn’t really last very long. Time was chosen because it incorporates the progressive features of Dark Side and has an archetypal Gilmour guitar solo.

Refugee were a very short-lived entity but their one eponymous studio album from 1974 was as good as progressive rock gets. Papillion is quirky and catchy and demonstrates how good the rhythm section of Jackson and Davison could be.

Trace were a kind of Dutch ELP, highlighting the musicianship of keyboard player Rick van der Linden. Opus 1065 is an arrangement of Bach and features Darryl Way on electric violin.

Prog’s last throw of the dice in the 70s was the supergroup UK. Though the second album Danger Money indicates the direction towards AOR following the departure of Bill Bruford and Allan Holdsworth, the uncomplicated Rendezvous 6:02 is a personal favourite.

I included two Van der Graaf Generator tracks because of the disparity in style before and after their split in 1972. White Hammer is a sonic assault and classic Hammill material; Arrow is pared-back and neurotic and quite different from the other material on Godbluff because of the paucity of organ, the major feature of the band throughout their career.

I had to end with Yes. Gina has accompanied members of the Page family to a number of gigs, the vast majority involving Yes or past members of the band. Awaken is an inspiring piece of music that’s deceptively accessible and one of the best prog tracks... ever.


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