Food for thought
By ProgBlog, Jun 21 2015 09:35PM
The recent Page family Milan trip involved a trip to Expo 2015 and the tickets, bought on-line with a 48 hour travel pass, included free admission to the Arts and Foods exhibition at the Triennale di Milano. This display of more than 2000 pieces of work featured a wide array of visual idioms, from models, through objects to entire room settings that revolved around the world of food, nutrition, and the way people eat together. The idea was to examine the relationship between art and the many rituals associated with eating, with special reference to how the aesthetic and functional aspects of what we eat have impacted creative expression. Though much of this was in the form of installations and painting, amongst the artefacts and Andy Warhols was a display of album sleeves, each one depicting a food theme.
The closest this piece came to including a cover from a prog artist or band were Frank Zappa’s Overnite Sensation which shows some crumbs in McDonalds packaging, a half-eaten donut and a piece of rotten fruit bearing the legend ‘Roadies Delite’; the Zappa-Captain Beefheart collaboration Bongo Fury; and an Island Records budget-priced compilation album from 1969 called Nice Enough to Eat which includes 21st Century Schizoid Man by King Crimson and We Used to Know from Stand Up by Jethro Tull. I came across this album in a Brighton flea market last week so I had a chance to get a close look at the material that was included but apart from the Crimson and Tull, the remainder wasn’t all that inspiring. Also present on the same market stall was another prog album with a food-themed cover, not present in the Milano Triennale exhibition but a record I used to have in my collection, Exotic Birds and Fruit by Procol Harum.
One obvious prog-food related band is Egg. Not only is the first album called Egg (1970) but the cover photograph by David Wedgbury shows an egg-cracking machine beautifully constructed by Peter Chapman that could have come from my old school physics laboratories. The Civil Surface (1974) also features an egg on its cover, this time strongly reminding me of the British Egg Marketing Board’s TV advertising theme, Go to Work on an Egg which began in 1957 and was certainly still running in some form when I was young. It may be that this association is entirely fabricated, possibly due to the presence of an iconic British Lion mark on the Egg that graces The Civil Surface. This was the first Egg album I possessed, a Caroline Records release that sold for around £1.50. I wasn’t too aware of the Canterbury connection at the time and subsequently sold it to my friend Bill Burford before buying it again, this time on CD, from Cover Music in Berlin in 2005. Now that I have all the Egg releases I think that it’s their best record despite Dave Stewart’s warning about the drums being too high in the mix; the recording seems much cleaner than Egg and The Polite Force (1971) and the interpretation of the compositions more mature. Some commentators have questioned the presence of the two wind quartet pieces, suggesting that they are just filler but though these aren’t being played by Egg the band, I think their inclusion is legitimate because they seem to fit with the mood of the album. Calling a record Hamburger Concerto (1974) is obviously suggestive of food and the neon-style writing used for the title fits in with the image of a US burger joint but the side long title track, based on a piece by Hamburg-born Johannes Brahms, Variations on a Theme by Haydn, is evidently a Focus pun. The track was conceived as a sequel to Eruption from Moving Waves (1971) and evidently had nothing to do with hamburgers, beginning life as Vesuvius, a portion of which appears on the odds and ends Focus album Ship of Memories (1976) as Out of Vesuvius; the six subsections Starter, Rare, Medium I, Medium II, Well Done and One for the Road make up the three movements of a concerto if you take the first four parts as the first movement comprising exposition, double exposition, development and recapitulation. Though I’m very fond of Moving Waves I prefer Hamburger because of the greater range of instrumentation and sounds, even though Jan Akkerman’s guitar is much less to the fore on the later album’s concept piece.
Gong’s Camembert Electrique (1971) could have been included in the Milan exhibition though there are only written references to cheese on the cover: the album title; ‘Cheez Pleez’ and ‘Strong and streamin mate!’ thought and speech bubbles respectively; plus the small ‘Cheese Rock’ and much larger ‘Fabriqué en Normandie’ tags. I probably bought this album when I was too young to appreciate it, but at £0.49 it was pretty irresistible. You have to remember that I took my prog very seriously and I liked my prog to be serious; the anarchic humour and Dadaist leanings were fine as long as they didn’t pretend to be progressive rock and this was more psychedelia or space rock than prog, with my favourite track being Fohat Digs Holes in Space. The title and cover of England’s Garden Shed (1977) is a play on Robertson’s Golden Shred marmalade but the relative subtlety of the reference and the relative unknown status of the album meant that it would never have got a look-in at Milan. This is a late golden-era classic, easily accessible to Genesis devotees but incorporating influences from other classic prog bands without coming across as an imitation. I updated my 20th Anniversary edition with the 2005 Special Edition Booklet and CD from the England merchandise stand at last year’s Resonance Festival.
The nature of much progressive rock music, with grand themes and concepts and cover images to match, is almost the opposite to the prosaic topic of food though the Milan exhibition showed that the notion of ‘eat to live’ has been overtaken by the concept of ‘live to eat’, certainly in Western cultures; perhaps Pink Floyd should have included a track about (the popular but erroneous meaning of) Epicureanism on Dark Side of the Moon. I can’t think of any prog rock song that highlights famine in the same way that Yes penned a song relating to a global concern when they requested Don’t Kill the Whale and perhaps it’s only Genesis who highlight the arrival of rampant consumerism which they compare with an England of folk lore and conservatism (with a small ‘c’) notably its association with food, in Dancing with the Moonlit Knight and Aisle of Plenty from Selling England by the Pound (1973).
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