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Is there rivaly between progressive rock bands or is the genre like an extended happy family?

ProgBlog investigates...

By ProgBlog, Oct 18 2018 07:02PM

I’ve just finished reading Will Romano’s analysis Close to the Edge: How Yes’s Masterpiece Defined Prog Rock (Backbeat Books, 2017) which deals in the minutiae of how the album came to be made, with input from many of the participants, both musical and non-musical. Apart from being a really enjoyable read for a fanatic like me, i.e. someone who believes Close to the Edge is not only the definitive progressive rock album but also the best album, ever, it touches on the impact the record had on other musicians and some (American) celebrities, and raises the question of inter-band rivalry.



The idea of ‘rivalry’ between the original cohort of progressive rock bands is something I originally thought about not long after discovering the genre in 1972 after hearing Close to the Edge for the first time, though in the context of fan affiliation. The Nice were the second band I listened to, who by that stage had already been disbanded for two years, followed by Pink Floyd and Emerson Lake & Palmer and then hosts of others. At some time in the early 70s I must have read that Hawkwind fans didn’t like Yes music (though I’ve never believed Hawkwind were a progressive rock band) and, from a personal perspective, I don’t appear to have had any inclination to listen to Genesis, based on some non-specific prejudice or resentment, until one of my friends bought a copy of the compilation LP Charisma Keyboards (released April 1974) which included the Nursery Cryme track The Fountain of Salmacis; then I was hooked. This sudden appreciation of Genesis also allowed me to view the entire genre as something inclusive with myriad bands all bringing something of value to the progressive rock world.


With two showman-like stars in Rick Wakeman and Keith Emerson, the music papers of the time gossiped about Yes-ELP rivalry which at the time I interpreted as a suggestion of enmity. Will Romano covers this in his book but the two keyboard players themselves have elsewhere written about and discussed their friendship, with Wakeman explaining how the two used to lunch together and laugh about their perceived competitiveness, with fans debating which of them was the better. The explanation put to Romano by Emerson was that any success of Yes would spur ELP on to greater things, whether that was song concepts or live sound. Wakeman has pointed out that the two friends came from different stylistic backgrounds, Wakeman himself from classical and Emerson from jazz, so that any ‘who is the best?’ argument boils down to the listener’s preferred style. In the October edition of Prog magazine (Prog 91), Emerson pips Wakeman in a readers’ poll for the best keyboard player...


It was fairly evident, even to a naive youth in 1972 or 73, that intra-band relationships could involve enough tension to tear the band apart; this probably being when I came across the risible term ‘creative differences’ for the first time. A review of the history of Yes, even at that moment in the early 70s, was enough to demonstrate the Machiavellian designs of certain band members intent on reaching their personal goals at whatever cost. I would come to realise that this behaviour wasn’t restricted to Yes, though later versions of the group could be equally brutal; it was sometimes difficult to discern whether ego or musical direction was a cause of conflict. On the other hand, gifted musicians left groups for perfectly understandable reasons like illness, stage-fright or an inability to reconcile family life with constant touring. However, it seemed to me that the overall scene was one of relative stability: Bruford had already left Yes when Close to the Edge was released; Pink Floyd had long put the dropping of Syd Barrett behind them and whatever personality differences were simmering under the surface wouldn’t rise until the end of the decade; the ELP juggernaut rolled on; Genesis had formed the classic quintet and were yet to begin shedding members; Gentle Giant had a settled line-up; Jethro Tull also had a settled line-up. Focus may not have been the most stable of bands, with a rhythm section that was frequently reinventing itself, and there were seismic changes in the pre-Larks’ Tongues in Aspic King Crimson, played out before I got into them, but the one glaring exception to the seeming constancy of the movement, at least among those represented by the music that I owned or listened to, was the flux within the Canterbury scene.


Soft Machinery - from Pete Frame's first volume of Rock Family Trees
Soft Machinery - from Pete Frame's first volume of Rock Family Trees

From a progressive rock fan’s point of view, the first major upheaval I felt was Wakeman leaving Yes for a solo career in 1974 and his eventual replacement, Patrick Moraz, breaking up Refugee. Their eponymous debut, one of my top five albums of all time, came out three months before Wakeman’s split and based on the quality of Refugee, I could only rue the loss of such a promising musical force. With the decommissioning of the 60’s – 70’s King Crimson in 1974 and the self-imposed temporary withdrawal of Yes, ELP and Pink Floyd from the scene in 1975, a number of musicians were left to occupy themselves outside of a group context, some releasing solo material with assistance from quite diverse sources. That meant that any rivalry that may have existed disappeared in an atmosphere of collaboration.


Friendships were formed when bands toured with one another and it wasn’t terribly unusual to come across a fellow act paying in the same city while touring; mutual respect between musicians is frequently quoted in biographies, creating a network of potential players for a ‘solo’ work. I mapped this network, based on musicians featured on albums in my record collection from the late 60s through the 70s and including two from the 80s, for a short article ‘What is Progressive rock?’ which accompanied a self-compiled 2CD set presented to a friend who was rediscovering prog in 2004. Though hardly comprehensive, it did indicate that even within a narrow range of groups, there was a healthy degree of interconnectedness.


Prog connections - in its original colours!
Prog connections - in its original colours!

I’ve not attempted to update or redraw this chart because the post-millennium revival of prog has resulted in an explosion of new bands, the reformation of old bands (sometimes with an extensive cast of new talent) and even instances where the assistance of an established musician is enlisted to help out with a less well-established act (João Felipe’s Amber Foil project enlisted the help of Manuel Cordoso, formerly of premier Portuguese 70’s symphonic prog band Tantra, who added guitar parts and produced the An Invitation EP.) Also, the original chart only covered three non-UK bands, Focus and Trace (Netherlands) and PFM (Italy). Any new review of the information would have to include more Italian bands to reflect my growing collection of progressivo Italiano, which I have recently discovered have their own extensive networks. There’s even a series of ‘supergroups’ with their own identity though they exist simultaneously with the groups that act as the main vehicle for the individual musicians.


The swelling number of connections between groups has to be due primarily to the increase in numbers of album releases and the additional bands that have appeared in the last 45 years, but the interest in the genre following a period when ‘prog’ was a dirty word seems to have had an unexpected positive effect, bolstered by Prog magazine and books from people like Will Romano, allowing the movement to become a large, happy family, almost encouraging bands to offer guest appearance slots to other musicians. This extended family idea, where guesting on different albums or joining a touring band, possibly in addition to being in their own group, facilitates earning a living as a professional musician. The days of the multimillion-selling prog album are over, along with self-imposed tax exile status, a huge advance for the next release and limitless studio time, so unless there’s another income stream, even if that means playing in the backing band for some pop act, it’s unlikely that music alone can pay the bills.


To challenge myself, I've begun the October ProgBlog album playlist based on the notion of interconnectedness. I've chosen direct connections between artists on a particular release, using an artist once only for a link to another album. For example, Patrick Moraz’s i features Jeff Berlin on bass, so the next album in the sequence also features Berlin and the next link is through a different musician on that record. This exercise predominantly features 70’s music but some of the LPs covered are from more recent incarnations of 70’s bands. The results will be available for scrutiny at the beginning of November...







By ProgBlog, Dec 24 2017 12:17AM

2017 isn’t quite over but there will be a short break for ProgBlog over the Christmas period. As I type there are almost 900000 hits on the website, many of which might not be from individuals who stayed to browse but in the 45 months since the site was founded, the trickle of visitors per month has shot up, accelerating from a total of 174000 at the beginning of 2016 thanks in part to my adoption of twitter and a dedicated Facebook page, a strategy suggested by the hosts of a Guardian Masterclass in how to promote your website.

It can’t be denied that substantial proportion of music bought in the early to mid 70s, the so-called ‘golden age’ of the genre, was progressive rock, so prog wasn’t really niche because it produced some very successful acts though an observer of musical trends over the past 50 years might not think so. Fast forward to 2017 and proof that progressive rock is regarded as mainstream (or at least present and recognisable as something distinct) comes in the guise of BBC TV family quiz show Pointless series 17, episode 10, where the final round is about prog! Yet it’s hard to explain the resurgence of a musical form which attracted such vitriol at the end of the 70s, despite the fact that Prog magazine, after something of a scare this time last year, is once again thriving and obviously serving a large fan-base, and across in mainland Europe, the Prog Italia title seems to be doing well and publisher DeAgostini, in conjunction with the magazine, has started to reissue a massive series of classic progressivo Italiano records on 180g vinyl which are available from newsstands. So why exactly is prog currently in vogue when it’s not really commercial and therefore not attractive to major labels, and the struggle for bands to get heard above the competition is far more difficult now than it ever was in the 70s?


Prog goes mainstream (1) Pointless categories
Prog goes mainstream (1) Pointless categories

Prog goes mainstream (2) Pointless questions
Prog goes mainstream (2) Pointless questions

I don’t think the answer lies in 2017 but it was a year when trends seems to coalesce and were picked up by the media. This is certainly true of the vinyl revival story, despite the rise in sales commencing in 2014, if not a couple of years earlier and though vinyl isn’t restricted to prog albums, classic prog is linked to the popularity of the LP and even CD box sets now come laden with facsimiles of original sized album artwork and other goodies. Talking about the music helps enormously, whether in print like Prog magazine, via social media (where the prog community behaves more civilly than almost any other group), or at one of the increasing number of occasions where the fans are able to approach and interact with musicians face-to-face. However sad, it’s a fact that the protagonists are dying and though 2017 might have seemed less tragic in terms of numbers of recognised musicians who passed away compared to 2016, all we’re left with is the irreplaceable sonic legacy of John Wetton (who inspired me to take up the bass), Phil Miller and Allan Holdsworth. But their deaths got us talking, too. National newspaper The Guardian printed obituaries of Miller and Holdsworth and the Daily Telegraph carried an obituary of John Wetton; it is only right that we celebrate their music. As far as mainstream print media goes, I try to keep tabs on the number of mentions in The Guardian concerning progressive rock and it’s more than you might realise, from crossword clues to film reviews!


Allan Holdsworth obituary - The Guardian 19/4/17
Allan Holdsworth obituary - The Guardian 19/4/17

From a purely personal point of view, over the latter part of the year I’ve learned to test my boundaries a bit more. This has proved somewhat challenging because I’m someone who doesn’t use music as a backdrop to other activities as I like time to concentrate on what’s being played. On a number of occasions I’ve been asked to review (or at least listen to) some new music, which has come in a range of styles. I’m exceedingly grateful that my judgment is valued enough for complete strangers to contact me and take this as a vindication of my opinions aired via the blog and associated bits of social media. I’m sure that a graphical representation of my particular tastes would result in a normal distribution curve but the wide spectrum that makes up prog means that some of this material was going to be right up my street and some was less likely to appeal. For anyone who has sent me links to their music, please be patient; I think that the promotion of prog music is a worthwhile pursuit and I will get around to writing about it however, I do have a daytime job which sometimes carries on out-of-hours.

The point is that once I’ve agreed to give something a listen, I can’t just play it in the background while I’m doing the ironing or reading my daily newspaper and then come up with an opinion, I have to really listen and pick out moments which I like and explain why I like it. I approached Process of Illumination’s Radiant Memory with a degree of trepidation because when I read their influences I genuinely thought it wasn’t going to be my cup of tea. After repeated listens I could really appreciate the guitar and keyboard interactions and maybe they did have a metal edge, but they also had a good ear for a melody and mixed adventurous complexity with ambient washes. On the other hand, An Invitation by Amber Foil sounded and looked like a slice of 70’s prog and got me hooked instantly, and then proceeded to pull me deeper into a dark and vaguely disturbing storyline; though only an EP, An Invitation is my album of the year. Dam Kat’s Alawn mixes Kate Bush with Pink Floyd and Steven Wilson and adds a dash of traditional Breton music and the result is very pleasing, so I’m glad that I was invited to listen to it; the music of Dublin’s Groundburst was new to me, despite a back catalogue of EPs stretching back 10 years, with their latest EP Triad frequenting ground shared between prog and math rock, and though a full-length album due to be released next year will include much of their devilish complexity, it’s also rumoured that lengthier tracks will allow for more symphonic development; Seattle-based Gaillion are another band I’d describe as outside my old comfort zone with a more concise approach but I can’t help but admire their musicianship and rhythmic invention on their latest CD Renewal and Release; Servants of Science from Brighton and Hats Off Gentlemen It’s Adequate from London have both covered exceptionally deep concepts on The Swan Song and Broken but Still Standing respectively, the former about an astronaut witnessing the end of the earth from space, and the latter following the story of human evolution from the last universal common ancestor to conflict and finally symbiosis with artificial intelligence. Both are cinematic but The Swan Song tends towards haunting alt-rock and Broken but Still Standing is more in the mould of Floydian soundscapes, aided by really gorgeous flute. Both are well worth seeking out.


2017 saw me manage multiple trips to Italy where I witnessed the first ever gig by the much admired Ancient Veil, in their home city, and became one of only a couple of hundred people to see the first two performances by Melting Clock. This young Genovese band may not have released an album yet but their symphonic prog is brilliantly structured and possesses an enviable accessibility, so I’m pretty sure they’re going to do well. Another young band who did release their first album was Milan’s Cellar Noise with Alight. This harks back to classic 70s Italian prog, even though it’s sung in English and the concept is based around stations on London Underground. I caught their show at Milan’s Legend Club, part of the Z-Fest, and bought the CD immediately after they’d completed their set. I actually took in two major prog festivals over the course of the Italian summer; the Porto Antico Prog Fest in Genova and Progressivamente in Rome. The former was an international affair organised by Black Widow Records where Melting Clock debuted, and the totally free Progressivamente festival, held over five nights, featured established bands (including some which had recently reformed), presenting an unmissable opportunity to catch up on incredible music from the last 45 years. The last trip to Genova included a night at La Claque where Ancient Veil played unplugged; Melting Clock played gig no. 2 and wowed the crowd; and Phoenix Again demonstrated their quality with a brand of jazzy/heavy/symphonic/complex prog. I stayed in the city for a couple of extra days because PFM were performing at the Teatro Carol Felice and I’d managed to get a ticket.



I don’t really speak Italian so I’m indebted to all the people I met to discuss prog for kindly resorting to converse in English. This list includes a whole host of musicians from Melting Clock, Panther & C, Phoenix Again and Ingranaggi della Valle, the friendly and knowledgeable staff from Black Widow Records, promoter Marina Montobbio, and audience members at the gigs like Vincenzo Praturlon and the cousin of Semiramis bassist Ivo Mileto. Part of the attraction of Italy is seeking out record stores in the different cities, where once again communication was in English, otherwise we couldn’t have had any sort of sensible conversation. Guidance and expert advice from Genova’s Black Widow comes as part of the package but new shops were discovered in Como (Frigerio Dischi, Alta Fedità); Savona (Jocks Team); and Rome (Elastic Rock, Millerrecords).

Wandering around record stores in the south east has been a major feature of the latter part of the year. There’s a shop just around the corner of my road which I recently discovered sells second-hand vinyl but the best find is a short tram journey away, Wanted Music in Beckenham where proprietor Adriaan Neervoort keeps a wide stock of prog and electronica, in great condition and at market rates. I’ve discovered it’s often worth popping into charity shops where amongst the James Last and battered classical LPs you might find the odd gem for £1 or £2, like my French version of the Chariots of Fire soundtrack and the Synergy album Electronic Realizations for Rock Orchestra. Then there are the flea markets...


Wanted Music, Beckenham
Wanted Music, Beckenham

I attended a few gigs on UK soil, the most anticipated of which was Anderson Rabin Wakeman who I went to see in Brighton, but the highlight of the year was the Pink Floyd Their Mortal Remains exhibition at the Victoria & Albert museum, an in-depth historical perspective of the band using their music and a wide range of personal and band artefacts, providing a must-see experience for any Floyd fan.



That’s 2017 in a nutshell; good bits and low points. It demonstrated that prog is still going strong and I’ve already got some events lined up for next year... Prog on!











By ProgBlog, Dec 5 2017 09:22PM

The Italian Riviera, stretching from the border with France to the west, down to through the Cinque Terre to La Spezia is a beautiful and often dramatic coast packed full of interesting places with well-preserved medieval quarters and fascinating histories. Genova is the regional capital and is close to the geographic centre; it’s also at the heart of the progressivo Italiano movement having been responsible for a good number of the original 70s acts and also, since the early 90s, producing a quite amazing crop of the current (and future) standard bearers.


Genova - San Lorenzo
Genova - San Lorenzo

Savona, west of Genova, was responsible for Delirium, one of the first Italian acts to adopt progressive traits. Originally a beat group called Sagittari, they changed their name when Ivano Fossati replaced the original vocalist in 1970 and released their favourably-regarded debut, Dolce Acqua (Sweet Water) in 1971. This turned out to be their only album with Fossati, though the televised appearance at the Sanremo pop festival (100km west of Savona along the coast) in February 1972 was responsible for the huge success of their single Jesahel where it finished sixth, which many regard as being the best-known pop song in Italy; I think it’s quite interesting that there’s a picturesque Ligurian town called Dolceacqua with an old, elegant single arch bridge and a 12th Century castle roughly 25km inland from Sanremo. Fossati was subsequently replaced with Briton Martin Grice on sax and flute and, after a disappointment with the jazz influenced prog of their second album, Lo Scemo E Il Villaggio (1972), they produced their symphonic prog masterpiece Delirium III - Viaggio Negli Arcipelaghi del Tempo in 1974 but split up following personnel changes in 1975.


Savona
Savona

I own a budget price ‘2LP in 1CD’ release of Dolce Acqua (with Jesahel as a bonus track) plus Delirium III - Viaggio Negli Arcipelaghi del Tempo, bought from Piccadilly Sound in Livorno on a day trip out from Pisa in August 2014, and managed to get to see the reformed Delirium (Martin Grice, Fabio Chigini on bass, Alessandro Corvaglia on vocals, Michele Cusato on guitar, Alfredo Vandresi on drums and original member Ettore Vigo on keyboards); the very enjoyable set contained a number of songs from the prog-folk Dolce Acqua but there was also good slices of 2015’s L’Era della Menzogna and 2009 comeback release Il Nome del Vento.


Delirium 2LP in 1CD
Delirium 2LP in 1CD

On my second trip to Savona I wandered into the Jocks Team record store (it was closed for lunch on my first visit) I picked up a Yes T-shirt depicting the cover of Fragile and the CD Il Viaggio di Colombo (2008) by Il Cerchio d’Oro who also hail from the city; this was me fulfilling my desire to acquire music from the home city of a group. Though they’d been around in the 70s, Il Cerchio d’Oro never managed to release an album of original material until reforming in the 00s, although they did produce some non-prog singles in the late 70s which emerged on a Mellow Records compilation in 1999 and La Quadratura del Cerchio, an album of rehearsal tracks from the mid 70s, including cover versions of songs by The Trip, Le Orme and New Trolls was released by Psych-Out Records in 2006.

Christopher Columbus lived in both Genova and Savona and provided the inspiration for Il Viaggio di Colombo, a well-presented CD and the first collaboration between the band and Black Widow Records. The sound is crisp and clear with Giuseppe Terribile‘s Rickenbacker bass high in the mix, providing the driving force for some 70’s sounding progressivo Italiano. It’s almost as though the 33 years between the snippets from La Quadratura del Cerchio and Il Viaggio di Colombo never existed. The use of sound effects such as the creaking of the wooden ship show a welcome attention to detail, though the concept, the writing and the playing are all first-class. There’s a bit of a Floyd feel to the production but the music is very much Italian prog; at times I’m reminded of Alphataurus.


Il Viaggio di Colombo
Il Viaggio di Colombo

I completed my Il Cerchio d’Oro collection in the Black Widow Shop, with 2013’s Dedalo e Icaro on vinyl and the most recent release Il Fuoco sotto la Cenere on CD. The former is stylistically similar to Colombo, a concept album in classic Italian prog style, nicely presented in its gatefold sleeve and I haven’t yet made up my mind which is better, Colombo or Dedalo e Icaro.


Il Cerchio d’Oro had played just before Delirium at the Porto Antico Prog Fest and I suspect that they were premiering parts of Il Fuoco sotto la Cenere which hadn’t been released at that time. For this version of the band, the original members Gino (drums) and Giuseppe Terribile (bass) and Franco Piccolini (keyboards) were joined by Massimo Spica (guitar), Piuccio Pradal (acoustic guitar, vocals) and Franco’s son Simone Piccolini (keyboards), plus special appearances from vocalist Pino Ballarini (ex-Il Rovescio della Medaglia) and drummer Paolo Siani (ex-Nuovo Idea), two guest musicians warmly appreciated by the crowd. I recall thinking that the compositions were well structured but there wasn’t the degree of complexity I was expecting though when I got my hands on the new release I thought it was equally as good as Colombo and Dedalo e Icaro, if not better. I was once again reminded of Alphataurus despite detecting a subtle shift towards a more conventional rock format, and where the concept is presented as a series of snapshots, rather than the linear narrative of the two preceding albums. In a move reminiscent of their 70’s performances, the final track on the album Fuoco sulla collina (Fire on the mountain) is a cover version of an Ivan Graziani song, which fits the overall concept, the idea that we live in a world where feelings smoulder under the ashes and from time-to-time, fire erupts, often violently.


Il Cerchio d'Oro - Porto Antico Prog Fest 2017
Il Cerchio d'Oro - Porto Antico Prog Fest 2017

Title track Il Fuoco sotto la cenere (Fire under the ashes) is a really good piece of prog which commences with a melodic figure and goes through multiple changes (including a section with a heavy, distorted guitar riff and some excellent organ which reminds me of Biglietto per l’Inferno.) It’s about the state of mind of a person who becomes unable to deal with everyday problems and suppress the rage which has been building up as their inner strength gets worn away, the fire that bursts from the smouldering ashes.

Thomas uses the Great Fire of London as an analogy for our ability to turn a bad situation into an opportunity; fire destroys but it clears the path for new opportunities and life can emerge phoenix-like from the ashes. The organ and guitar work really well together and the vocal melody is nicely underlined with synthesizer. The solo vocals aren’t particularly strong but there are some memorable melodies on the longest track of the album.

Per sempre qui (Forever here) relates the story of a character who spent much of his life away from his homeland in exchange for prosperity but in the end, the desire to return to his origins, the ‘fire under the ashes’ prevails over the materialistic urges. This is a relatively short number, sung with great emotion by special guest Pino Ballarini on the recommendation of Black Widow Records and who, it transpires was perfectly placed to narrate the song because the sentiment coincides with his personal story.

I due poli (The two poles) is about the conflict between two mental states, including the suppression either one of the aspects. There are obviously different degrees of this bipolar phenomenon which affect individuals to different extents. At its most extreme, there is perpetual conflict between the two sides with one dominant and one suppressed (under the ashes), instantaneously switched and transformed into ‘fire’ when the conflict switches. It begins with some almost Hackett-like acoustic guitar which resolves to melodic piano and Mellotron cello before commencing a short riff and getting a bit Floyd-y. It’s in this track where I find the greatest similarity to Alphataurus, in the vocals where they work as a chorus (and this is where the vocals are at their strongest.) There’s nice expressive guitar and some great organ work and even a trippy synth solo.

Il Fuoco nel bicchiere (Fire in the glass) is a story of alcohol addiction, where the protagonist never totally overcomes the need for drink though he’s fully aware of the consequences of his failure to do so. The melancholy which besets the character is reflected in the slow melody; the song was written by keyboard player Simone Piccolini who has been described by his father as possessing the appropriate DNA for penning Il Cerchio d’Oro songs. This is dominated by moderately heavy guitar riffs but has some nice piano and an interesting section which includes a theremin sound.

Il Rock e l’inferno (Rock and hell) plays on the idea that rock music is frequently though inappropriately associated with the devil, when it’s actually a means of communication, just transmitting a mood. It’s altogether heavier and the beat more simple than most of their other material, with the band stamping their melodies over distorted guitar riffs and classic Hammond sounding organ and wordless vocals which recall some classic early 70’s RPI moments.


Some critics have pointed out the weakness of some of the vocals and there are times where I’d agree, though I think the music more than makes up for these moments. The band acknowledged the difficulty producing a suitable follow-up to the critically acclaimed Dedalo e Icaro and the time spent attaining their trademark ‘vintage’ sound without compromising cleanliness and quality was obviously worthwhile; it’s a very good album. Though I’m not a great fan of the artwork on the cover, I do understand the links between the painting and the songs and I’m impressed that artist Pino Paolino, a former vocalist with the band, has used images set partly in a 17th century fortress located in Capo Vado, not far from Savona. By strange chance the area was devastated by one of the fires which raged in the hills along the Riviera last summer, clearing the way for new possibilities.


Il Fuoco sotto la Cenere by Il Cerchio d’Oro is on Black Widow Records BWRCD 204 (2017)


By ProgBlog, Mar 19 2017 10:50PM

Brighton is a progressive city, including the constituency of the only Green Party MP in the UK. Under normal circumstances, much less than an hour away from Croydon by train with a regular scheduled service without changes, it boasts good coffee shops, good pubs, countless record stores selling both new and second-hand CDs and vinyl, and some excellent musical instrument shops. The University of Sussex is located just outside Brighton so it’s fitting that there are also a number of venues for live music. The Brighton Centre entertains political parties, record fairs and all sorts of other things including scientific meetings (I was there for the joint British Society for Histocompatibility and Immunogenetics/European Federation for Immunogenetics congress in 1995) but, more pertinently, I went to see Yes performing Yes Symphonic at the Brighton Centre in 2001.



The Komedia is an all standing venue not unlike the Electric Ballroom in Camden or the old Astoria in Charing Cross Road, with a high ceiling giving the impression of a large space. My two visits there were both for Steve Hackett gigs, in 2010 and 2012, pre-dating the Genesis Revisited tours but both very enjoyable featuring a range of material from his repertoire.



Straying outside of the run-of-the-mill progressive rock fare, I’ve also been to see Pat Metheney and the Esbjorn Svensson Trio in Brighton, at the rather impressive Brighton Dome. This Grade I listed building has a history going back over 200 years during which time it’s been a stable block, a temporary hospital, a roller skating rink and, in the words of the Dome’s website but a description I’m not going to argue with, now the south coast's leading multi-arts venue.






The Dome was commissioned by the Prince of Wales (later King George IV) and built between 1803 and 1808. His taste for flamboyant fashions and outlandish architecture is well documented, as was his predilection for mistresses. He used to stay at a small lodging house on Old Steine but alterations and additions to these lodgings meant that the original stables needed to be replaced so the Prince commissioned architect William Porden to draw up plans for a vast new stable block and riding house. The new stables could be viewed as an Oriental version of the Pantheon in Rome, devoted to George's love of horsemanship; the five-year build incorporated 61 stalls, 38 for hunters and other saddle horses and 23 for coach horses, and cost the not inconsequential sum of £54,783, almost bankrupting the Prince in the process so that his father, the King, had to appeal to Parliament to clear the debt.

The exterior of the Dome was inspired by the great Jami Masjid (Friday Mosque) in Delhi, as there was a widespread interest in all things Indian at the time, whereas the interior was influenced by the design of the Paris Corn Exchange, whose segmented glass ceiling was copied in the original dome construction. The dimensions of the domed roof (24m in diameter, 20m high) made it one of the largest constructions of its type in the world and there were severe doubts about its stability once the scaffolding had been removed, though Porden himself had absolute faith in the engineering. The dimensions of the riding house (54m x 18m), with a 10m high unsupported roof were also ambitious, incurring significant delays searching for sufficiently large single spans of roof timber.

Compared to the new stables and riding house, the Regent’s Marine Pavilion made relatively poor accommodation, so he undertook the task of converting his modest dwelling into the much grander Royal Pavilion. An underground passage, still in existence, was built between the stables and the Royal Pavilion. It was said that the tunnel was built so that the Prince could move undetected between the Palace and the stables in order to meet his mistress Maria Fitzherbert but by the time of its completion, George had fallen out with Mrs Fitzherbert.

Queen Victoria, the Prince’s niece, disliked Brighton and the Royal Pavilion Estate so the town bought the stable building in 1850 for use as a cavalry barracks up until 1864. Its interior was remodelled by architect Philip Lockwood before reopening in 1867 as a concert and assembly hall, holding 2500 people. The riding house was also restored and opened as the new Corn Exchange in 1868; a market was held every Thursday until December 1914 when the building was repurposed as a military hospital. Between December 1914 and February 1916 over 4000 wounded Indian soldiers were nursed at the makeshift hospitals set up inside the buildings of the Royal Pavilion estate, which included three operating theatres, one installed inside Brighton Dome itself. The India Gate, on the south side of the Pavilion Gardens, added in 1921, was a gift from the people of India to commemorate their fallen soldiers.

The concert hall and Corn Exchange both underwent further alteration between 1934 and 1935. The Concert Hall was transformed into the venue that exists today by architect Robert Atkinson, including the period art deco styling.

A new period of renovation began in 1999 using a combination of Lottery funding, the support of Brighton & Hove City Council and a host of individual, corporate and trust and foundation supporters. Reopened in 2002, the Concert Hall now has a seating capacity of 1800, much improved sight lines, and upgraded acoustics. Looking down on the stalls from the circle reminds me of some of the seating at the Royal Albert Hall, where rows become oddly truncated due to the curvature of the auditorium; looking up at the ceiling also reveals some fine architectural detail and overall, I’d rate it as a fantastic venue.



I was there again last Wednesday (March 15th) to see Anderson Rabin Wakeman (ARW) performing an evening of Yes music and more, having arrived in Brighton by train with my brother Richard and successfully completed a rendezvous with my friend Jim Knipe. We ate at one of Brighton’s many gastropubs, The Dorset Bar in North Street (recommended), opposite the bright red and yellow Guitar, Amp and Keyboard Centre and a five minute stroll from the Dome. If this isn’t the first time you’ve read the blog, you’ll be aware that 80s Yes is not really my cup of tea and that 90125, Big Generator and Talk are only associated with progressive rock through their historical connections; so why did I go? The opportunity to hear Jon Anderson sing was a major factor and I’ve thoroughly enjoyed his last two mini-tours with Rick Wakeman; including Lee Pomeroy in the band was also a positive move (his rendition of The Fish was truly remarkable, earning him a huge round of applause) and though I’d never heard, or heard of Louis Molino III, he turned out to be an excellent drummer.


It was inevitable that the set would contain a hefty dose of 80s material but I felt that these pieces would be outweighed by tracks like And You And I, Awaken, Heart of the Sunrise and Perpetual Change; with four songs from 90125 (one of them, Cinema, being instrumental and another, Changes, being my favourite track from that album) and only one song from Big Generator (Rhythm of Love), plus the Yes-West Lift Me Up from Union, it really wasn’t too bad a trade-off. The audience response, somewhat surprisingly given that Owner of a Lonely Heart and 90125 gained a whole new audience for the band, was not as enthusiastic for the Rabin-period music. Was this the Brighton effect? I acknowledge that Trevor Rabin’s involvement with the group ensured their continued survival but, fine guitarist that he undoubtedly is, his writing style is not classic-Yes, which is why the Rabin-Squire-White group was originally called Cinema. The songs presented by that trio had far more mainstream construction and content, lacking spiritual depth and sonic diversity, and that’s what came across on Wednesday night. The early Yes material varies dramatically within each number, demonstrating the best use of long-form and it’s far more thoughtful, head-music, if you like, rather than acceding to the demands of a record company for songs that had a wider, baser, appeal. This tendency towards guitar-sound homogeneity was even noticeable in the old material but the musicianship and writing carried the day. Awaken was the highlight for me, rearranged with a really spaced-out middle section featuring some brilliant keyboard work. It was obvious that considerable effort had gone into all the arrangements though I wasn’t convinced by their reworking of Long Distance Runaround.


The show was very, very good and the Brighton Dome made it slightly more memorable than going to the Hammersmith Apollo. They have really gelled as a group; while Anderson, sporting what seemed like some sort of support on his left hand, worked through his announcements, the band provided a short synopsis of what they were about to play laced with quotations from other Yes material, including On the Silent Wings of Freedom and a theme from Tales and demonstrated an obvious pleasure for what they were doing. YES!










By ProgBlog, Mar 12 2017 07:55PM

The Burning Shed email announcing pre-orders for a 4LP King Crimson Live in Toronto box set is rather tempting, especially if the audio quality is of the same order as Radical action to unseat the hold of monkey mind. I’m a fairly avid record and CD collector but my criteria for choosing music are somewhat rigid, so that my music library isn’t really very big at although I’m pretty sure I have a progressivo Italiano collection that’s as good as anyone’s in the UK. In the past it wouldn’t have been unfair to label me as completist as I was prepared to invest in an album that I knew was substandard in the hope I’d get around to liking it, Talk and Open Your Eyes, both poor fare compared to Yes’ early benchmark being prime examples but over time I’ve accepted that tastes and musical directions change, so I don’t have to like everything by a particular group.



The bulk of the material that makes up my library is symphonic progressive rock and RPI with a bit of jazz rock, jazz and RIO thrown in, the majority of which is from the golden period between 1969 and 1978 but I’m now shifting towards new vinyl (if possible; hence my interest in Live in Toronto) and I’m becoming a sucker for special editions. I’ve got the Larks’ Tongues in Aspic, the Starless and the Road to Red box sets and, having seen Crimson play the Hackney Empire on the same tour as the Toronto and Radical Action recordings, I bought the special edition 3CD, 2DVD, 1 Blu-Ray box set of Radical Action. I have a copy of the original Great Deceiver box set and picked up my 4CD Epitaph box set when I attended the Epitaph playback in London. I was never a member of the King Crimson Collectors' Club even though I was interested in the ProjeKcts and virtually everything else DGM were doing at the time; I have a couple of these releases and have heard more – my brother Richard subscribed in the early days of the KCCC and I think if the series restarted I’d probably now sign up.


So what is it about collecting different versions of the same material? The answer, in respect to Crimson, relates to a couple of things: the historic-cultural-sociological value of the music and the innate variation-development of each individual song. In relation to Yes, up until the release of Progeny: Seven Shows from Seventy Two, there was no live recording from any part of their history which fully captured both the sound and the spark of the band in full flight. The dynamism of Yessongs was hampered by muddy production but the discovery of the master tapes used as source material for Yessongs a couple of years ago meant that, with the benefit of current digital editing, a sound accurate to the original instrumentation, including radio interference on Rick Wakeman’s Mellotron, could be presented to the listener for the first time. The packaging of this box set does full justice to the audio from nine tracks presented on each date, which over three weeks display a subtle musical development as the group becomes ever more familiar with presenting complex songs to each audience. It’s also clear how Jon Anderson’s voice becomes stronger as he recovers from influenza!


The first Yes gig I attended was a matinee performance at Wembley Stadium on October 28th 1978. I had thought that the concert had been broadcast live on BBC radio and that the Yesshows version of Don’t Kill the Whale was from that afternoon’s performance but Alan Freeman’s last ever Saturday Rock Show was broadcast two months previously, on August 26th 1978. A check of various sites suggests there were multiple radio broadcasts and it’s likely that the Yesshows version of Don’t Kill the Whale came from the evening show, which was broadcast on Tommy Vance’s first ever Friday Rock Show on November 24th. I did buy an official copy of the Yes gig on November 17th 2009 as I walked out of the Hammersmith Apollo post-performance, saved onto a USB memory stick, and had to download the encores later.


There was a bit of a craze for producing immediate post-concert releases around this time and I also bought a copy of a Caravan gig, a performance to mark the 40th anniversary of In the Land of Grey and Pink, the majority of which was burned to CD during the show at the Shepherd’s Bush Empire in October 2011. Unfortunately, Pye Hastings appeared to have a cold and his vocals suffered as a consequence.



I don’t own any live Crimson recordings at which I’d been present. If any was to be released, I’d immediately buy it without a second thought. This constitutes fanaticism and I’m a little ashamed by such obsessive behaviour which is certainly unnecessary and borders on the irrational.

I’m not interested in any form of material value of these releases based on their rarity and however limited their print runs are, but I do get a feeling of deep satisfaction listening to music that I like. I’m far more interested in ensuring the artists get the best deal possible so I prefer to buy through Bandcamp or a store like Burning Shed where it’s possible to pick up a limited edition that might come in coloured vinyl or come with a poster or postcard. When AMS re-released the English version of Le Orme’s Felona and Sorona this came on blue vinyl and their re-release of Terra in Bocca by i Giganti, one of first and most difficult to find progressivo Italiano records came with a poster on red vinyl; Anderson-Stolt’s Invention of Knowledge came with a CD of the album and, also from Burning Shed, Kaipa’s re-released self-titled debut came on blue vinyl and included a CD of the album; Höstsonaten’s Cupid and Psyche came on red vinyl, with a postcard and signed by Fabio Zuffanti. One more example, though there are plenty more, is the limited edition box set of Caution Radiation Area I bought in Alessandria last October which came with a vinyl LP, the CD and a set of postcards featuring the individual band members.


There’s not usually any extra charge associated with ‘special releases’ but they do demonstrate more of an engagement with fans. I first noticed this extra effort when Dark Side of the Moon came out in 1973 which included posters and stickers. This was the start of my acquisition of progressive rock-related memorabilia and though the posters and stickers eventually found their way into the bin, having become torn after application and removal from too many bedroom walls as I moved around London as a student and during my early employment. Fortunately, the 40th anniversary vinyl edition included reproduction posters and even my 20th anniversary CD came nicely boxed with individual pieces of specially commissioned artwork. I still have the Wish You Were Here postcard and robot handshake graphic from the black shrink wrap, stored in a Mr Men scrapbook along with other bits and pieces which charted my adolescence. Despite the fall in popularity of prog during my student days, I still managed to fill the scrapbook with ticket stubs and flyers from a variety of events, each announcement and receipt marking a point in time of particular personal relevance; a source of reference for the future. I was fairly impoverished as a student and my prudent streak extended into my early working life, since NHS laboratory work wasn’t particularly well-paid. Instead of buying an official tour program when Pink Floyd played Wembley Stadium in August 1988, I picked up an unofficial program for half the price. As the 90s wore on and it was once more possible to seek out regular suitable gigs, DGM issued a number of promotional postcards alongside a couple of sampler CDs which I collected.



There was a short time where I’d buy a T-shirt instead of a program, rarely both, and when musicians realised that there was a viable livelihood from playing more intimate venues, the post-show merchandise stand became a place of engagement between artist and fans, acting as an encouragement for the audience to perhaps spend a bit more money than anticipated; prog-mate Gina Franchetti had a long and involved conversation with Thijs van Leer about Italian cuisine at the Focus merchandise stand after a gig at the Beaverwood Club but you can also pick up some unusual objects. I’ve liberated A3 sized posters from the walls of venues on my way out after the show on more than one occasion and even got Sonja Kristina to autograph one of these, a Curved Air promotional poster, for me.

I used to have a large collection of badges until I got rid of it about 20 years ago. This included a few rather obscure items like a Brand X crocodile (from Do They Hurt) a Gradually Going Tornado pin and an Enid Touch Me pin but I’ve started to buy badges again – for no obvious purpose. I’ll continue to buy T-shirts and programs but it’s most worthwhile to buy the music at the gig; the signed copy of at the last Steven Wilson Concert; the official release-date copy of Invisible Din by ESP. On another occasion I was all fingers and thumbs attempting to remove the shrink wrap from a just-purchased Anna Phoebe EP so that she could sign it; in the end she did it for me. It’s this degree of connectivity and personal generosity that makes the prog world stand out as a beacon of inclusivity and which makes it worthwhile doing the collecting.












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