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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, Aug 7 2017 02:46PM

I pay £1.47 for four pints (2.27 litres) of milk at our local Co-op, and I choose to pay almost half as much extra than is strictly necessary (there are supermarkets like Sainsbury’s, which is also very close to me, where that volume of milk only costs £1) because a supermarket price war over essentials which began in 2015 depressed the price of milk to a level below production costs, threatening the UK dairy industry. Consumers suggested that they were willing to pay more for the product and the supermarkets, faced with protests involving cows being herded through their aisles, agreed to pay a minimum price for processed milk to the dairies, which was set at around 26p to 28p per litre. However, guaranteeing a minimum price for milk doesn’t necessarily mean that dairy farmers will benefit because the large dairies supplying the supermarkets might not pay the minimum cost to the farmers. Something is broken in the economy when a staple like milk is sold for less than what it cost to produce so it’s fortunate that consumers, who stand to benefit in the short-term from this high-street competition, have decided that paying 47% more is worth avoiding the collapse of the industry.



I’ve been buying a fair amount of vinyl recently, both new and second-hand, and I’ve started to wonder if today’s prices are anywhere near equivalent to what I paid for albums in the 70s and 80s. Inflation in the UK was recorded at 2.9% in June and is expected to average out at 2.8% for 2017 and an online calculator shows me that the total inflation in the UK economy since 1973, the year I first bought an LP, is 1113.42%; if the laws of economics have held true, the equivalent of a new release costing £2.50 in 1973 would now set you back a little over £30 so it would appear that a new release 12” LP is good value for money compared to prices in the 70s. Of course I used to seek out bargains if I could but these tended to be old releases (my copy of Fripp and Eno’s Evening Star for example, bought for £2.99 from Simons Records in a large basement on London’s Oxford Street in 1981), and ‘cut outs’, sleeves with small slits in one corner or punch holes just off centre which would also penetrate the label in the middle of the LP. These items were slow selling records that had been returned to the record company by a retailer, subsequently bought by a third party at a reduced cost (they weren’t selling well anyway) and put back into record stores where they were sold at a discounted price. During the late 70s and early 80s it is hardly surprising that albums by prog acts were slow selling and ended up at sale prices. My cut out edition of Livestock by Brand X cost £2.49 from Virgin Records in Oxford Street in August 1981.


It’s interesting that a full price album, using Bryan Ferry’s Boys and Girls as an example because it’s still got the Our Price sticker on it, which cost £5.29 when it was released in 1985, would sell for £15.64 at today’s prices and that the total inflation since 1985 is only of the order of 195%. The massive hike in inflation occurred in the mid 70s with CPI inflation peaking at around 24% in 1975 and high inflation persisting into the early 80s. The oil crisis of 1973, precipitated by an embargo by the Organization of Arab Petroleum Export Countries in response to US support for Israel in the Yom Kippur War, generated inflationary forces which increased energy and commodity prices, quadrupling the price of oil in less than four months. At the same time, the world economy was in recession and this was mirrored in the UK economy. It was a period of 'stagflation', in which recession combined with inflation; inflationary wage increases were accompanied by a rise in unemployment, reaching one million in early 1976. High unemployment required increased government expenditure and borrowing.

The oil crisis had a direct effect on vinyl, a petrochemical offshoot, causing shortages and a concomitant rise in LP price. Some vinyl got thinner and my copies of The Six Wives of Henry VIII by Rick Wakeman and Fruupp’s Seven Secrets from this time are semi-transparent (with a red hue.)



The Labour Party was elected to government in February 1974 without an overall majority and they pursued a commitment to the 'social contract' (voluntary wage restraint in return for better bargaining rights) and public spending. Unfortunately, an international loss of confidence in sterling followed due to the combination of recession, instability and commitment to social expenditure, and led to the devaluation of sterling. Labour was again voted into power, this time with a tiny majority, after a further election in October 1974 and the subsequent budget in April 1975 attempted to reduce the deficit by increasing the basic rate of taxation to 35%, cutting the rate of growth of public expenditure and restricting the supply of money but it was viewed critically in the financial sector; the Wall Street Journal advised against investment in Sterling. By mid-1976 the economy was under extreme pressure and Chancellor of the Exchequer Denis Healy made a nationwide broadcast on TV in an attempt to reassure the markets and investigated the possibility of loan arrangements with the chairman of The Group of Ten (richest countries.) Late that year the government was forced to apply to the International Monetary Fund (IMF) for a loan of $3.9bn, with IMF negotiators insisting on deep cuts in public expenditure, which had a huge effect on immediate economic and social policy but also on the politics of the 1980s and beyond.

At this stage I’d like to point out that I have no faith in economic theory because movement of capital seems to be reliant on whim or the perception that a country or organisation may be at any given time in a state of stability or instability, and built on exploitation. The inflexibility of thinking within the IMF and the European Central Bank dragged out austerity and caused near-irreversible damage to most of the southern European countries and Greece in particular, spawning groups of right-wing nationalists looking for someone to blame for their economic misery. Furthermore, I believe that the global financial system is run by chancers and geared towards enriching those already with great wealth. When a government intervenes to bail out some venerable banking group because it’s too big to fail, the bank denounces regulation and carries on as though nothing happened.


I should also make it clear that I’m not buying vinyl as an investment but because it has always been my preferred medium for listening to music. If there’s anything nostalgic about my habit, buying LPs I used to own but got rid of because the music/band fell out of favour so that I stopped playing the records (Rubycon by Tangerine Dream, L by Steve Hillage, The Civil Surface by Egg, Camembert Electrique by Gong and Rick Wakeman’s The Myths and Legends of King Arthur and the Knights of the Round Table) or because I needed to fund the replacement of old vinyl with shiny new CDs and maybe get some bonus material), it’s the desire to hold a gatefold sleeve in my hands and look at the artwork as originally presented and maybe to count my leisure hours in (roughly) 20 minute chunks.

I don’t buy very many LPs where I have some updated form of CD though replacing my original King Crimson and Pink Floyd albums was a must; I tend to look in second-hand stores for particular recordings or bands that interested me when I was a youth but never took the plunge – Spyglass Guest by Greenslade, Ricochet by Tangerine Dream, Aqua by Edgar Froese are examples, along with Mother Focus. One of my first excursions from home to see a gig at Lancaster University was for Focus, promoting the just-released follow-up to the excellent Hamburger Concerto. It was one of the most disappointing performances I’ve ever witnessed, where Philip Catherine had replaced Jan Akkerman and the new material was not of a good standard.



I thought it was worth testing the inflation theory some more, wondering if it applied to beer. I go to the pub perhaps every couple of months and on a night out earlier this month I was paying £4.50 for a pint of Shepherd Neame (the oldest brewery in the country) Bishop’s Finger in the Bishop’s Finger pub between St Bartholomew’s Hospital and Smithfield market. I accept that’s central London but when I first started drinking in 1977, a pint of Hartley’s XB (‘best’) bitter cost 28p and by the same calculation I’d expect to pay £1.85 today. Of course Hartley’s was brewed in Ulverston and there’s a documented price disparity between northern and southern beers. I can’t remember how much I paid for a pint of bitter when I first arrived in London because I actively had to seek out decent beers in an era when real ale in London was in decline and I was never a fan of Courage – the CAMRA Good Beer Guide was an essential part of the student survival kit. Two worthwhile London breweries were Young’s of Wandsworth and Fuller's of Chiswick but there were a few free houses where the 70s equivalent of the ubiquitous Sharp’s Doom Bar, Ruddles County, could be found. I’m pretty sure this used to sell for a little shy of 50p in 1978 so I shouldn’t really expect to pay more than £2.86 for a pint in London today.

A final piece of economics: Ruddles brewery was based in Langham, in Rutland, the smallest historic county in England and produced a good-quality bitter (allegedly at least part due to the unique Langham water) which travelled well. This independent brewery was bought out by Watneys in 1986 and sold on again, to Grolsch in 1992. Following a downturn in fortunes, the beer and brewery were valued at £4.8m and sold to Morland & Co. in 1997. The brewery was closed down in 1999 and production moved to Abingdon but Greene King bought Morland in 2000 and shut down the Abingdon site...


The bottom line (as economists might say) is that whether I’m searching for second-hand or new vinyl, in real terms I’m paying less than I did when I started collecting albums. Yes, you might see pristine original pressings of In the Court of the Crimson King selling for £50 but equally, it’s possible to come across an original pressing of Tubular Bells with the black and white Virgin labels, etched stampers without matrix numbers, laminate sleeve, pinched spine top and bottom and a back cover which states "Printed in England by Robor Limited" in the bottom right corner (later sleeves were printed by E J Day), for just £5.50 and in excellent condition.



Vinyl, please!








By ProgBlog, Oct 2 2014 08:31PM

September’s referendum for independence for Scotland energised political debate north of the border and late in proceedings, dragged pro-union UK political party leaders and other leading Westminster MPs beyond Hadrian’s Wall to shore up their flagging ‘No’ campaign. The temptation to vote ‘yes’ was spurred not because of a nationalistic hatred of the English but a distrust and dislike of a system that allowed a Conservative-led coalition to impose laws that affect Scotland despite the Tories being wiped out from there in the 1997 general election and only having one current MP. A sizeable minority voted for full self-determination but there were evident doubts about the economy and currency should Scotland have become independent. Though it would have been really good to see Trident kicked out, the loss of jobs would have been somewhat detrimental.

Despite being a single-issue campaign, it was great to see how successful the referendum was in getting the electorate engaged, especially with younger voters (the voting age was reduced to 16) because of the effect the result would have on future generations. This connection with politics has been sadly missing for a long time and the reasons are multifactorial: The selection of MPs from a metropolitan elite; the rightward drift and the blurring of political identity; the expenses scandal; the planned 9% pay rise for MPs compared to a long-running public sector pay freeze or 1% rise, itself denied to many; the insidious effect of commercial lobbying and the post-parliament jobs.

The compromise between Labour, the Liberal Democrats and the Tories, designed by Gordon Brown, was to offer greater powers to Holyrood. The reaction of English Conservative MPs was predictable and a greater degree of devolution in Scotland was coupled with devolved powers in the rest of the UK; English-only votes for English matters, a sop to English nationalism that was intended to outflank UKIP and cause Labour problems.

There are some left-wing commentators who are brave enough to point out the requirement to accept the notion of ‘Englishness’. This doesn’t have to be viewed as a nationalistic concept, the preserve of the politically far-right or the insular UKIP (who are nearly as far right) and it’s not represented by John Redwood’s cricket ball; Englishness is amorphous and it should be celebrated. It’s not a reaction against immigration or immigrants, it’s partly made up from the exact opposite and the Left needs to help everyone see the issue from this other angle; the mixture that is England is a result of migration, would-be invasion and settlement and, more than that, an acceptance of those who have been persecuted, making Englishness an acceptance and celebration of diversity. In socio-economic terms, nationalistic elements blame immigrants for taking the jobs of English people, stirring racial hatred and sowing fear in unskilled or low-paid workers who are most likely to be in threatened jobs. This deliberate lie needs to be cut out and exposed because it’s the unwillingness to pay a living wage that has forced down wages. The lack of an organised workforce, after a Thatcher policy carried on after 1997 by Blair, effectively cuts off any form of resistance to this strategy and as globalisation took off in the 80s, multinationals moved their operations around the world to take advantage of cheap labour in an attempt to squeeze out more profit. Decimating the UK industrial base and then spending North Sea oil revenues on social security payments for masses of unemployed was economic incompetence but somehow Thatcher got away with it, fighting a war over Las Malvinas, gerrymandering and plugging into the ‘greed is good’ creed that she claimed, probably knowing it was a lie, would create trickle-down wealth. This is the source of UK inequality that has led to the safety net of social security being rebranded as ‘benefit’ and the unemployed stigmatised as ‘skivers’, a narrative that conveniently ignores the true cause of the global crash in 2008 and one that is blind to the suffering caused by austerity because the super-rich, whose greed precipitated the financial meltdown, have just got richer over the past six years. Gideon Osborne’s speech to the Tory party conference this week shows exactly how little he cares about the low-paid. The Tories, fearing that the rise of UKIP will prevent them from gaining a parliamentary majority, have developed a language of hatred aimed at the unemployed, the low-paid, people with disabilities, minority groups and immigrants. I find that behaviour obscene; a behaviour that shrinks away from fairness for political expediency. The creation of the welfare state and the NHS, funded by taxation, was a major step in reducing the gulf between the poor and the wealthy, an act of decency and ‘the right thing to do’; fairness and decency are also included in the formula for ‘Englishness’.

Progressive rock is something that has a strong association with Englishness. Geographically, prog was a largely English phenomenon but one that was outward-looking, absorbing influences from around the world; European classical music, Eastern music, jazz and (to a lesser extent) blues from America, all mixed in with traditional English folk music. This eclectic blend sometimes attempted to reconcile different world philosophies (Tales from Topographic Oceans) and frequently borrowed from world literature. It arose from psychedelia which in the UK was itself founded on a mixture of sources, from Marvel comics to EE Cummings, Lewis Carroll, Kenneth Grahame and Tolkien. The association of psychedelia with the peace movement and environmental awareness also spilled over into prog, providing grand themes based on the inclusiveness of the global village. It’s quite fitting that ELP should record Jerusalem and that Mont Campbell of Egg should be the grandson of composer Martin Shaw, not simply because of the imagery of northern hills and a green and pleasant land but because of the influence, cited by many of the protagonists, of church music on the musicians. Though religious belief has declined in the UK over the last half-century, the Church of England still retains undue power in our national affairs, with 26 unelected bishops sitting in the House of Lords.

The inclusion of the sea shanty Wreck on Gentle Giant’s Acquiring the Taste may have been influenced by their formative years in Portsmouth but this isn’t a paean to England’s historic nautical supremacy, something that would be boastful and nationalistic, it’s another slice of Englishness as it updates traditional folk. A number of commentators have analysed the relationship between Englishness and progressive rock, how and why it came about, but there’s no simple answer. It’s a combination of embedded culture and emerging culture in association with scientific, technological and medical advances; an increasing awareness of our place in time and space, of the futility of wars and the consequences of environmental destruction. Prog emerged as the music of a generation that was willing to reflect and engage; a positive force. That’s my kind of Englishness.


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