Do you want some more music?
By ProgBlog, Jan 8 2018 03:43PM
Not content with the excellent music I received at Christmas, Gentle Giant’s Three Piece Suite, David Gilmour Live at Pompeii and Änglagård’s Prog på Svenska - Live in Japan, I reviewed my wish list and found that Folklore by Big Big Train was unavailable on vinyl... I’ve come a bit late to the Big Big Train party, only possessing the material released on the cover mount CDs of Prog magazine and until recently, when my listening habits relaxed a little, not being sufficiently moved enough to buy any of their albums. The first track I heard was probably Winchester from St. Giles' Hill, a YouTube clip which one reviewer described as ‘the best song Peter Gabriel never sung.’ It’s a very pleasant piece of music but as it doesn’t pick up the pace until about 5 minutes in, I’m ashamed to say I didn’t pursue the output of the band until sorting out my music library last year and finding Last Train, Kingmaker and Judas Unrepentant, all of which I very much like, on Prognosis 5, Prognosis 18 and P5 Into the Lens respectively, prompting me to add Folklore to my wish list. With that album out of stock, I decided to order Grimspound (on vinyl) instead, even before Burning Shed had reopened after Christmas, just in case that too became unavailable as an LP. Depending on how much I like Grimspound, I might have to buy a download of Folklore until the vinyl edition gets re-released.
I’ve also visited the BTF website, after seeing the vinyl version of Dedicato a Frazz by Semiramis advertised in the sidebar of my weekly email from the Italian prog distributors and mail order firm. I’ve been after the LP since before seeing the band perform at last year’s Progressivamente festival in Rome because it’s a great piece of music, little known or appreciated outside of Italy until the renaissance of prog; the CD was one of my most expensive second-hand purchases on that particular format but I’ve always thought it was well worth it, like some obscure treasure.
It seemed pointless to splash out on postage for one album so I added DNA by Jumbo to my shopping cart. I currently own this as a download, having never seen the release in a physical format, despite always scouring the Js in the CD and record bins in every record shop I go to in Italy. The first of their two classic RPI albums, DNA represents fairly basic progressivo Italiano but it’s still quite enjoyable. There’s not a great deal of variation in the keyboard with only organ and piano but, in common with quite a lot of early Italian progressive rock, there’s a hefty dose of flute which sounds as though it’s been inspired by Ian Anderson and early King Crimson. DNA was Jumbo’s first foray into a progressive sound but there’s still a weighty reminder of their roots, including harmonica, a blues instrument which I don’t believe has any place in prog! However, the influence of early UK prog is evident throughout and Ed Ora Corri (And now you have to run), the second part of the 3-part composition that makes up side one of the original LP (Suite per il Sig K., a track that reflects a Kafka-like existence) is quite spacey and seems to have been at least partially inspired by Pink Floyd. I’ve owned their 1973 release Vietato al minora di 18 anni? (Prohibited to minors under 18?) for a year now, a limited edition from BTF on red vinyl and apart from seeing vocalist-guitarist-songwriter Alvaro Fella performing with Consorzio Acqua Potable (CAP) at the Riviera Prog festival in Genova in 2014, where at the time he was confined to a wheelchair, I have also seen Fella play with CAP, and Jumbo, at Progressivamente in Rome last September. On record, Fella’s vocals might seem something of an acquired taste – he has a distinctive theatrical style that has hints of Alex Harvey or Roger Chapman from Family, but his singing comes across as perfectly suited to the music when you witness him play live.
The first gig of the year was a fairly low-key affair at The Dublin Castle in Camden. I was accompanied by Jim Knipe who only got to see a fraction of the main attraction, Hats Off Gentlemen It’s Adequate, but had to sit through an excruciating performance by Unit 48 who were like Haircut 100 fronted by David Brent, one nondescript singer/guitarist, and a rather intriguing opening act False Plastic, a trio of bass, drums and guitar who played short, spiky numbers apart from their final song, where they let rip with some psychedelic punk.
I’d been invited to listen to the new release Broken but Still Standing by Hats Off Gentlemen It’s Adequate at the end of last year and found it a pretty good mixture of prog and post-rock. The soundscapes are quite Floydian (especially post-Waters Floyd) and the themes are pretty deep; if that isn’t enough to intrigue you, the flute is absolutely gorgeous and these passages are the most prog. Their album When the Kill Code Fails from 2016 comes with a recommendation from Steve Hackett.
I was included in a tweet sometime during the day of the gig that flautist Kathryn Thomas wouldn’t be appearing and that the band, which can involve as many as five people or as few as just one, would be appearing as a duo, Malcolm Galloway on guitar and vocals, and Mark Gatland on bass, keyboard and effects; I wasn’t put off by the pared-down outfit because I knew that some of the material could be recreated using patches and triggers and though we weren’t going to get the high quality prog of the first fifteen minutes of Broken but Still Standing, there were plenty of other parts of the latest album which were very enjoyable.
Indeed, the set was a mixture of the shorter material from Kill Code and Broken and it was thoroughly enjoyable. The programmed drumming, something I’m a bit wary of, sounded like an authentic kit and the washes and bits of electronica were quite like on the albums. There was one moment, possibly at the end of My Clockwork Heart where Galloway pressed the wrong foot pedal and guitar continued playing, even though it was the end of the song. Galloway’s vocal style is quite languid, a bit like Pete Shelley, but it does suit the music; this is in comparison to Gatland who was a ball of energy, leaping around the small stage sometimes two footed, bringing his knees up to his chest. It wasn’t only good to listen to, it was genuinely entertaining and when I spoke to them afterwards it was quite clear that they’re both really nice guys. I bought the two recent CDs and took advantage of the special merchandise stand offer – buy two get the third (Invisible) free. The duo made an appearance at HRH Prog last year as stand-ins for Touchstone and by all accounts, went down very well. It’s hardly surprising. Their originality, enthusiasm and great songs mark them out to be a group to watch. I can’t wait to see them as a five-piece.
Still driven to own more music, I visited Croydon’s 101 records for their half-price New Year sale, where the offers were only available to those who’ve signed up to Duncan Barnes’ email list. The condition of the album is rated as A (Very Good Condition) to C and though I’ve had numerous chances to pick up the original Journey to the Centre of the Earth for £1 from flea markets, I’ve always resisted because the sleeve and/or the LP has been badly marked. I’m please I waited. With a sale price of £2 and rated as in VGC, I bought Journey (a record I’ve never owned before) and a replacement The Myths and Legends of King Arthur and the Knights of the Round Table, something I bought in 1975 and sold in ’77 or ’78, also for £2. I then splashed out and added Ekseption's Greatest Hits for £3!
I’m not sure I’ll ever stop wanting more music...
The original Journey is still the best version of it warts and all. I still have a few Wakeman albums on vinyl so I must dig them out sometime, especially White Rock which doesn't get a lot of attention probably because it was a film soundtrack but it contains some great tracks and playing.
I have to admit I'm not impressed by Hayley Sanderson's singing on the 2012 extended version because I think it makes it even more like musical theatre than prog; what I do like about that version is the consistency of playing by the band, choir and orchestra. White Rock is my second favourite RW album after Six Wives and, as you suggest, does seem to get a little overlooked