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At the start of a four-day immersion in gigs and record buying, ProgBlog attended the album launch of Gryphon's first studio release for 41 years, ReInvention.

More akin to the eponymous first album from 1973 than the more proggy later material, it's a worthy addition to the Gryphon canon

By ProgBlog, Jun 28 2017 08:50AM

There’s a great deal to be said for being open-minded, the willingness to try different things, because it’s a wide world and being able to see someone else’s point of view helps us to build bridges and overcome divisions in society. Past experience invariably influences present and future choices, for either good or bad, but forming impressions of the widest possible range of stimuli is most likely to be a positive force. Genetics obviously plays a role in how we react to events but the molecular mechanisms are nothing when compared to environmental impact: Jazz was the predominant musical form in the house I grew up in but after hearing Close to the Edge I quickly found friends who liked the same sort of music and whether or not I was still happy to listen to my father’s jazz recordings, being of an age where you could choose to buy whichever records you wanted was a crucial part of adolescence.



Practitioners of progressive rock, appropriating bits and pieces from a multitude of sources, should really be regarded as exemplars of open-mindedness and, in keeping with the lofty ideals of the late 60s and early 70s, they took it upon themselves to end the cultural hegemony of the upper and middle classes through popularising classical music by amalgamating it with rock and jazz and other idioms. Progressive rock wasideally placed to carry out this change as it was by-and-large looked upon as a movement promulgated by the middle class with exponents such as the Charterhouse alumni making up Genesis being an exception at one end of the social scale, and Jon Anderson from Lancashire mill town Accrington at the other end of the ladder. This emancipation of the romantic European musical form was in keeping with the countercultural zeitgeist and could be viewed as reaching out to disparate tribes by embracing differences.

I jumped from not being interested in rock music to being intrigued by Roxy Music to being a dedicated prog-head in just a couple of months. I carried on watching Top of the Pops and remained friends with school mates who liked Slade or T Rex but around the age of 13 or 14 and certainly by 15, most people were forming a distinction between pop and rock and leaving pop behind though there were musicians I had begun to admire who used the pop idiom for one reason or another; Robert Wyatt with I’m a Believer springs to mind... At the height of the golden era of progressive rock bands still eschewed singles but by 1976, following the hiatus in studio recording by a number of the big-league players, the music industry had become more hard-nosed and the labels required their acts to generate money by writing hit singles. Adjusting to produce something specifically for this market may have been tricky enough if you were used to taking ten minutes or more to get your ideas across to the listener but the difficulty was exacerbated by a far more sophisticated competition.



The announcement of the forthcoming Steven Wilson album To the Bone has been greeted with keen anticipation from fans. As much as I like Hand.Cannot.Erase I got into Wilson’s music via the rebooted 70s prog of The Raven that Refused to Sing, rather than the more narrow sound of Porcupine Tree. H.C.E strays from the original progressive rock blueprint and takes in electronica and post-rock and the result is another great record, but it’s not really prog. This is simply an observation and, in the overall scheme of things, it doesn’t matter but with videos available for three tracks from To the Bone, it can be seen as part of a trajectory towards what Wilson himself describes as ‘progressive pop’. While this refusal to stand still is in principle a good thing, the (give or take) five minute length of the previewed tracks doesn’t provide enough scope for development, although there is the promise of 9’20 of Detonation. From the examples available to the general public and from comments he’s posted on his website, it seems that the territory he’s now occupying is similar to that of more of the music he liked as a youth; Peter Gabriel’s So, Kate Bush’s Hounds of Love, and Tears for Fears’ Seeds of Love, pop music which had a degree of depth. I’m a recent convert to Hounds of Love for The Ninth Wave suite which makes up the entire second side of the original LP though I’ve followed her career with interest since she first hit the airwaves with Wuthering Heights in 1978. Like Wilson, I also appreciate the Kate Bush – Peter Gabriel partnership probably best known for Don’t Give Up but which started six years earlier on No Self Control from Peter Gabriel III, a far more prog-sounding track; Bush and Gabriel also shared an interest in sonic innovation and were at the vanguard of the Fairlight CMI revolution. It could be argued that Gabriel’s solo output wasn’t really prog but it is undeniable that his method, if not all of his songs, conform to the overall prog scheme.


Wilson’s musical taste is suitably diverse, as indicated by his playlists and the two-song singles that were compiled for his 2014 album Cover Version; six original pieces paired with six cover versions of songs by Alanis Morissette, Abba, The Cure, Momus, Prince and Donovan (though The Unquiet Grave is a 15th Century folk song interpreted by Wilson.) He was even sporting an Abba T-shirt when I saw him on the second of the two Royal Albert Hall gigs in September 2015 though I can’t think of any redeeming features of Sweden’s number one musical export.



The nearest I get to a guilty musical pleasure is sharing record storage space with my wife’s Fleetwood Mac, Marvin Gaye, Meatloaf, Robert Palmer, Chris Rea, Simon and Garfunkel and Bruce Springsteen – she has her own CD storage - and though I often have to grit my teeth when I buy her music as a present, it’s somewhat unfair on her that she gets streams of prog-related recommendations. Fortunately, Susan occasionally finds something she likes which might fit into the ‘progressive pop’ category, such as Gotye’s Making Mirrors or S. Carey’s chamber-pop Range of Light.

There was a time when I owned Anita Ward’s 45 rpm single Ring My Bell and although it features early syndrum and I can still sing along with it, this was never intended as a serious purchase; after suggesting I was going to buy it, I had to go along with the joke but it did only cost 50p. I have a pristine copy of Bryan Ferry’s Boys and Girls (Our Price, £5.29) bought along with Sting’s Dream of the Blue Turtles which were released two days apart in June 1985, neither of which fits in particularly well with the rest of my collection though David Gilmour ad Tony Levin feature alongside Ferry and Sting quotes from Prokofiev on Russians. It’s interesting to note that the drums on both albums are performed by Omar Hakim which fits in very nicely with Sting’s jazz-lite and might have been responsible for some subliminal appreciation of Boys and Girls.



Another pop-rock album which sits between my Endless River and Storia di un Minuto LPs is Every Breath You Take: The Singles, part of my leaving present from my first workplace but which was sanctioned by me. I didn’t like the early Police material but two-thirds of the group had decent prog connections (Stewart Copeland – Curved Air; Andy Summers – Dantalian’s Chariot; Soft Machine; Robert Fripp) and the songs on later albums Ghost in the Machine and Synchronicity showed a high degree of sophistication. The first CD I bought was actually Nothing Like the Sun but Richer Sounds wasn’t really a place to buy recorded music – I just needed a CD to play on my newly acquired Yamaha CD player – and Sting was the least offensive artist available. I’ve still got it.



No one should have any guilt about the music in their collection. We buy and listen to the music we like, however broad or narrow our predilections. I applaud the broad-minded, but when it comes to music, my collection hardly encompasses anything other than progressive rock (in its myriad forms), jazz and a bit of classical; my taste is somewhat narrow.










By ProgBlog, Aug 5 2015 09:10PM

The skies over Croydon last Friday night (31/7/15) were cloud-free and, despite the light pollution from the streets, the ‘blue moon’ was really clear. I’m something of a fan of astronomy and as a youth members of the Infield Park Gang (IPG) would venture off to watch meteor showers from the vantage point of a local school playground, lying down so that the town’s sodium streetlights were obscured by the surrounding trees, or heading off to the ruins of nearby Furness Abbey, nestled in the Vale of the Deadly Nightshade where the night skies were so dark it could be quite hazardous walking up Manor Road in the direction of Yarlside; we used to frequent The New Commercial in Newton (now The Village Inn) at the top end of the derelict iron ore mine workings, a free house where the beer was excellent and the juke box contained a reasonable selection of prog and prog-lite, possibly where I first heard Wuthering Heights by Kate Bush.

The term ‘blue moon’ is a bit of a misnomer and a bit confusing. The moon reflects the sun and appears yellow-white as normal but the name, which had been documented well over 100 years before the popular definition ascribed by amateur astronomer James Hugh Pruett in 1946 was simplified to indicate the second full moon in a calendar month. The lunar cycle of 29.5 days means that Pruett’s blue moons occur seven times every 19 years; the original name derives from the Native American Algonquin, who gave names to all full moons throughout the year and introduced the Blue Moon, the fourth full moon in a single season, as a way of maintaining their lunar-calendar month alignment. So is an event described as ‘once in a blue moon’ rare? With an occurrence of once every 2.7 years they are certainly infrequent...

The moon is highly symbolic with multiple meanings and interpretations, primarily based on observations of its regular cycle; the brightness of the full moon waning to complete darkness at the new moon and waxing again to the full moon. At a very basic level the constant regular appearance, growth and subsequent disappearance can be interpreted as a symbol of life, death and rebirth. The reflectivity of the moon – the albedo (as in Albedo 0.39 by Vangelis, the reflectivity of the earth in 1976 when the album was released) – averages at 0.12 due to the changes of brightness linked to different lunar phases and gives rise to the notion of the moon as a mirror that reflects the mystery and fear within our souls.

The common association of the moon with femininity comes about because lunar cycles were thought to mirror the life of a woman, a representative of the Triple Goddess; her three incarnations of maiden, mother, and crone were matched with the lunar phases of new, full, and old so that the complete triad of goddesses is symbolised in the changing face of the moon. Another reason that the changing moon is particularly associated with women is because the regular lunar cycle closely matches the menstrual cycle. The English word month is derived from the Anglo-Saxon monath, from mona, the moon; menses is from the Latin mensis, meaning month. This once more brings to mind Kate Bush who not only injected literacy into the pop world but featured a song about menstruation, Strange Phenomena, on her debut album The Kick Inside (1978). The space rock of early Gong, most notably Camembert Electrique (1971) which features the so-called space whisper of Gilli Smyth strikes me as feminine, if we’re allowed to attach gender to music, an opinion possibly influenced by the inclusion of the track Selene - the Greek goddess of the moon; also, the influence of Gong on Steve Hillage, even after he’d left the band in December 1975 along with girlfriend Miquette Giraudy, may have been partially responsible for Lunar Musick Suite (from L, 1976.)

With the plethora of possible interpretations, the moon makes a number of appearances in the prog canon, from the straightforward interpretation of the moon landings on Brian Eno’s Apollo: Atmospheres and Soundtracks (1983), a documentary film that was originally shown without narration, simply featuring footage of the Apollo space missions with Eno’s predominantly dark ambient soundtrack, to the moon as a symbol of reflected self in Pink Floyd’s Dark Side of the Moon where every day pressures can lead to madness. Eno has indicated his album is intended to be an exploration of space travel, not some kind of adventure film soundtrack and I think the moods he successfully creates somehow tap into the idea of expanding the human experience, something that has acted as an inspiration for some of my own ambient music (Lunar Surface Magnetic Anomalies, 2013.)

Camel’s Moonmadness (1976) might not seem to be a conceptual piece of work on first hearing, certainly not in the Dark Side mould, but moon references recur throughout the album. The short first track Aristillus is named after a prominent lunar impact crater that lies in the eastern Mare Imbrium and features drummer Andy Ward reciting the names ‘Aristillus’ and ‘Autolycus’, the latter being a slightly smaller crater due south of Aristillus. The obvious moon reference is the track Lunar Sea (hence Moonmadness) which is one of my favourite instrumental tracks of all time. The alternating guitar and keyboard leads are understated and beautifully melodic, giving the track a great balance; the Moog tones evoke the ebb and flow of a cosmic ocean and Ward’s drumming is neat and crisp while Doug Ferguson’s bass bounces and bubbles. Even the heavy Another Night gets in a lunar reference: “Dark Clouds before my eyes / Can’t face the morning skies / Day comes a day too soon / I’m waiting for that silver moon” but Camel had set out to avoid a concept album in the style of Snow Goose after pressure from their record companies; if Moonmadness has a loose concept it’s that four of the tracks are said to represent the members of the band: Chord Change is Pete Bardens; Another Night is Doug Ferguson; Air Born is Andy Latimer; and Lunar Sea is Andy Ward.

Another moon link is on Mad Man Moon from Genesis’ A Trick of the Tail (1976) though I don’t think it’s really about madness or the moon, just an obsession with what others have: envy. I’ve racked my brains trying to find some link between the lyrics and the title of the song, other than in the line of the chorus, but Tony Banks sticks pretty much to drought/flood imagery. I recall Shakespeare’s Romeo and Juliet Act 2 scene 2: “Arise, fair sun, and kill the envious moon” but, despite the allusion to lost love, I suspect I’m way off the mark.

The moon represents mystery but the moon landings, coinciding with the rise of progressive rock, may have resolved some of the unknowns. This has encouraged prog to delve deeper into the cosmos.



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