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Regarded as a prog metal classic, Dream Theater's Metropolis pt.2: Scenes from a Memory is now 20 years old

ProgBlog reflects on the current state of prog metal

By ProgBlog, Feb 5 2017 07:20PM

I bought myself a bass guitar shortly after my 18th birthday, a sunburst finish Fender Precision copy with no manufacturer’s details. I was aware that there were hundreds of budding guitarists of my age, all with a head start over me, so I chose four strings instead of six, reasoning it would be easier to get into a band as a dedicated bassist. By this stage, with five years of listening to progressive rock under my belt, I’d also worked out what sort of bassist I’d like to be; I’d figured out there was a small cohort of what I called ‘classic English rock bassists’ who didn’t necessarily have the flash of their fusion counterparts but, despite the difference of rock idioms in which they operated, had a distinct harmonic style which suited their particular genre. Chris Squire’s bass work stood out; Martin Turner’s playing was perfect for the twin guitar approach of Wishbone Ash, propelling them to the verge of prog; Paul McCartney may have been highly regarded for his song writing but his bass was very inventive if somewhat understated; John Entwistle first used the high treble style that influenced Squire; and John Wetton.

My first bass
My first bass

I’d missed out on Wetton’s early career in Mogul Thrash and Family and my introduction to his playing was in 1974, hearing The Great Deceiver played on Alan Freeman’s Saturday radio show when Starless and Bible Black was released. A few months later a friend bought the outstanding Red (1974) and my brother Tony bought the ground-breaking Larks’ Tongues in Aspic (1973). As my appreciation for King Crimson increased, it became obvious that the bass and vocals of John Wetton were an integral part of the sound of the incarnation of King Crimson that convened in 1972, unbelievably forceful and inventive. It wasn’t until I found a copy of USA (1975) in the record store local to my hall of residence at the end of the decade that I began to understand the power of the group in a live setting; Asbury Park is probably my favourite Crimson improvisation. All this was without realising that the bulk of Starless and Bible Black and Providence from Red were live tracks but the Night Watch playback and CD in 1997 put everything into context, further clarified by the superb Great Deceiver box set where not only the alchemy of David Singleton but also the diary notes and reflections of Fripp, Cross and John Wetton allowed the awesome sound of the band in full tilt to be fully appreciated.


Wetton-era King Crimson LPs
Wetton-era King Crimson LPs

Wetton-era King Crimson box sets
Wetton-era King Crimson box sets

Following the demise of Crimson, I regarded Wetton’s move to Uriah Heep as a retrograde step, though his later move to Wishbone Ash for Number the Brave (1981) was of note, as I harboured a begrudging regard for the Ash. It just wasn’t of enough interest to make me go out and buy the album though I did think that Wetton’s bass playing was suited to the early Wishbone Ash style; restricting his song writing was evidently too much for him to take. As for the Roxy Music and Brian Ferry band period, I was never really interested in post-Siren Roxy. The touring arrangement with Roxy started before King Crimson officially ceased to exist, a temporary measure before Crimson was due to get back to touring. With shared management it was easy to help out friends (reciprocated on USA where Eddie Jobson provided violin overdubs) and helping to formulate Wetton’s next band.

The seemingly unlikely collaboration between Wetton, Bill Bruford and Rick Wakeman could have been amazing but the collapse of that project resulted in the formation of supergroup UK. Their eponymous debut (1978) was a slick progressive album with leanings towards jazz rock and quite different from long-standing progressive acts and newer groups like England. The song writing was mature with a coherent sound, as though the individuals were all treated as equals and were all pulling in the same direction. That meant it came as something of a shock when Bruford and Holdsworth departed, the former being replaced by an unknown (to me) Terry Bozzio and the guitarist not being replaced at all.


UK albums
UK albums

I didn’t manage to get to see the original quartet but I did manage to see the pared-down Danger Money incarnation of the band at Imperial College, their only British appearance before shooting off on tour to support Jethro Tull. As good as this gig was, my enthusiasm was tempered by the feeling that the band was under-rehearsed. Danger Money (1979) was a stylistic nod to the earlier progressive era but the balance present on the debut had gone, ushering in a radio-friendly verse-chorus-verse-chorus direction with shorter numbers like Caesar’s Palace Blues and Nothing to Lose, the latter released as a single. Despite the more commercial slant there are some classic prog moments, especially the Jobson organ work. The evocative Rendezvous 6:02, another outstanding but understated song, is one of my favourite Wetton tracks and I think his vocals would be the best they’d get

.

Caught in the Crossfire
Caught in the Crossfire

Wetton’s Jack-Knife project resulted in I Wish You Would (1979), an album recorded in Munich over 10 days. This was a reunion with Richard Palmer-James and covered material that the two played together in Tetrad. More a demonstration of his remarkable versatility, it included Sonny Boy Williamson’s Good Morning Little Schoolgirl and Eyesight to the Blind and a self-penned song called Mustang Momma - hardly challenging for the players or listeners. Presented in an awful cover, I gave my copy away to a charity shop. I have kept Wetton’s first solo album, Caught in the Crossfire (1980) where, despite a guest appearance by Martin Barre, the content is well removed from progressive rock; the track When Will You Realize? was apparently cited by Eddie Jobson as the song most responsible for the demise of UK.

The formation of Asia, Wetton getting back together with prog luminaries promised so much but I have to admit being disappointed with the end product. I wasn’t aware that he was deliberately choosing to depart from the band members’ pasts and eschew long instrumentals in favour of short songs, an approach that runs counter to my love of long-form. I dutifully bought the first three albums when they came out, Asia (1982), Alpha (1983) and Astra (1985) and even bought the compilation on CD Then and Now in 1990. I was pleased that the venture was successful though I was perturbed that Steve Howe appeared to have been ejected from the band after Alpha and was unable to work out why Wetton also left, to be replaced, briefly and somewhat ironically, by Greg Lake.


Asia albums and the 12" single The Smile has left Your Eyes
Asia albums and the 12" single The Smile has left Your Eyes

Towards the end of the 90s I went to see John Wetton with his band on three occasions, at the Astoria in Charing Cross Road, in Croydon and in Bromley. I didn’t really know what to expect but I thought his re-emergence, with progressive rock no longer a dirty word, was something to follow. I was able to track his progress over a couple of years from the quality of playing of the music that made up the set list, a mixture of Crimson, UK, Asia and solo songs, watching the evolution of the band. I wasn’t over-impressed with guitarist Billy Liesgang though drummer Tom Lang was good; these two were eventually replaced by Dave Kilminster and Steve Christey (ex-Jadis) respectively. Martin Orford was a constant and consistent presence on keyboards. A major highlight was in September 1997 when I saw him along with other members of the 72-74 King Crimson for the Night Watch playback at London’s Hotel Intercontinental. He performed a solo acoustic version of Book of Saturday and signed copies of the double CD at the end of the event. Sadly, mine was stolen from the boot of a taxi in Miami in 2003.

In 1998 I began subscribing to ARkANGEL, the official John Wetton ‘infomagazine’, a labour of love put together with a cheap word processing package by Gary Carter and it was through this fanzine that I discovered a host of Wetton solo material, adding Battle Lines (1994), Chasing the Deer (1998), Arkangel (1998), Hazy Monet (1998), Live at the Sun Plaza Tokyo 1999 (2000) and Sinister (2001) to the copy of Akustika (1995) I’d bought from the merchandise stand at the Astoria gig. The vast majority of this is well-produced AOR but there are some stand-out tracks like The Circle of St Giles and E-Scape and I enjoy all of Chasing the Deer. I also invested in a copy of the authorised Wetton biography, My Own Time by Kim Dancha, which is a bit short on detail and concludes in 1997.


ARkANGEL - The John Wetton infomagazine
ARkANGEL - The John Wetton infomagazine


John Wetton CD collection
John Wetton CD collection

Qango were a short-lived band that attempted to recreate the highs of prog. Alongside Wetton on bass and vocals were Carl Palmer on drums, John Young on keyboards and Dave Kilminster on guitar. I saw them play at the Ashcroft Theatre in Croydon, using material from Asia and ELP, plus Wetton favourite All Along the Watchtower. They released a live album (Live in the Hood, 2000) but sadly, plans for a studio album were abandoned.


Qango played Croydon in May 2000
Qango played Croydon in May 2000

I managed to catch a re-formed UK at Under the Bridge in May 2012, a great venue with the right level of intimacy, somehow just right for the return of a premier-league prog act. The performance included more than just material from the two studio albums, notably Starless, Jobson’s favourite King Crimson song. Wetton and Jobson were joined on stage Alex Machacek who beautifully recreated the Holdsworth guitar licks and Gary Husband was an inspired choice to fill in on drums. It seemed to me that Wetton’s voice was a little strained at times but these moments were neatly covered with some effective echo; he managed to keep in tune throughout and hit the higher notes. I’m delighted I got to see the show.


UK at Under the Bridge, May 2012
UK at Under the Bridge, May 2012

John Wetton was one of the reasons I picked up the bass guitar. I followed his career from true prog great (the King Crimson improvisations) to polished AOR and though it’s his time with Crimson and UK that remain a highlight for me, all his work, the collaborations and the ‘solo’ material are all very much respected. Wetton’s death is another huge loss to the prog world.


John Wetton b. 12th June 1949 d. January 31st 2017

By ProgBlog, Jan 22 2017 11:19PM

Whereas 1976 ended on a relatively high note for progressive rock with what I now regard as the last decent studio offering from Genesis, Wind and Wuthering, it hadn’t really been such a classic year for the progressive rock genre though there were obviously important releases. Looking back through my collection it would appear that the product from mainland Europe shined pretty brightly. 2017 has started with the inauguration of President Trump in the US but 1977 started off where 1976 ended, with a trip to see Genesis at Manchester’s Free Trade Hall. It continued with the much-anticipated follow-up to Wish You Were Here, Pink Floyd’s Animals. The entire album was premiered pre-official release, on John Peel’s radio show (January 20th, official release January 23rd.) That single exposure was enough for me to discern a qualitative difference between Animals and its predecessor; gone were the lavish keyboard washes and cutting synthesizer lines, replaced by a more traditional rock balance with organ and piano relegated to little more than rhythm work. I still went out and bought it, to discover that Rick Wright wasn’t included in any compositional credits and even Dave Gilmour only got his name on Dogs. It was fairly common knowledge that a decent proportion of the material which made up the LP had been presented to live audiences following the Dark Side tours, with You’ve Got to be Crazy forming the bones of Dogs and Sheep gestating as Raving and Drooling, the latter including far more synthesizer than on the finalised album version. Wish You Were Here is a good example of progressive rock; four years later The Wall is most definitely not prog. Sitting between the two, Animals doesn’t really conform to the requirements of the description either, though it does have its moments and does challenge the prevailing politics of the time, inverting the anti-Stalinist narrative of George Orwell’s Animal Farm and turning it into a rail against capitalism.


Animals - forty years old
Animals - forty years old

From the somewhat lacklustre and very disappointing Too Old to Rock ‘n’ Roll: Too Young to Die! of the previous year, Jethro Tull reinvented themselves in 1977 with the prog-folk Songs from the Wood. This was not only a coherent, redefining statement (that would last for a trio of albums), it also utilised the playing talents of long-term associate and strings arranger David (now Dee) Palmer on keyboards which had the effect of adding another layer of complexity to the music. I don’t think the music could be compared to folk because it really rocked; the title better reflected the subject matter itself rather than any treatment of it, espousing green issues and contentment through a more rural way of life dressed. Ian Anderson had always utilised the acoustic guitar in a singer-songwriter way but now he had a package that harked back to a bucolic idyll and even, in Hunting Girl, hinted at Lady Chatterley’s Lover. I really like Songs from the Wood, the upfront, punchy bass of John Glascock and in general the instrumentation and arrangements. I suppose if I were to lay any criticism at this record it would be directed at the sometimes twee lyrics but overall, for a song-based album, it compares very favourably with Tull’s prog-concept pieces like Thick as a Brick, A Passion Play and Minstrel in the Gallery.


Songs from the Wood
Songs from the Wood

It would be incorrect of me to dismiss Tull as a second-division act but the first of the major players to return after an extended break from the studio were Emerson, Lake and Palmer. The pretentiously-titled Works Volume 1 may have been a cock-a-snook to punk, the dominant genre of the time, indicating that they didn’t care what anyone else thought about their approach to music. Aesthetically, even the sleeve is deadly serious in monochrome with its small neat font and the concept, one side for each band member plus one side for the ensemble comes across as an indication of artistic control. I’ve always thought Works Volume 1 and the albums just before it invoked a superficial parallel with Yes activity: Yes released Close to the Edge, their defining LP in 1972, this was followed by a triple live set (Yessongs) which in turn was followed by the magnum opus double LP Tales from Topographic Oceans; ELP released Brain Salad Surgery in 1973, the pinnacle of their career up to that date, they then released the triple live album Welcome Back My Friends and their next studio outing was the grand double LP Works Volume 1. If the analogy is pushed further, the Yes hiatus was punctuated by solo albums; ELP’s absence from the studio ended with solo material presented within a group album (though Lake’s I Believe in Father Christmas and Emerson’s arrangement of the Meade Lux Lewis tune Honky Tonk Train Blues, released in 1975 and 1976 respectively were both charting singles, eventually ended up on the mixed bag Works Volume 2.) It’s easiest to analyse Works Volume 1 one side at a time. I find Emerson’s Piano Concerto no. 1 rather enjoyable, the piece cementing his reputation as a builder of bridges between the two worlds of classical and rock though which his influences shine. I’m not sure that it’s a great piece of composition but I like it. Lake’s side continues from where Still... You Turn Me On left off in 1973. I value Lake’s contribution to progressive rock as an integral part of the earliest incarnation of King Crimson and as bassist/vocalist for ELP. He may have considered himself a singer songwriter playing acoustic guitar who happened to play some bass but the ‘solo’ features on every ELP album bar the first are relatively poor affairs; nice voice, shame about the content. Having said that, I have a soft spot for C’est La Vie! Carl Palmer’s material works very well when the attention is on the percussion rather than his song writing; I could never work out why Joe Walsh should appear on an ELP album, which brings me to the group tracks. The Copland-penned Fanfare for the Common Man is safely back on ELP territory and the only gripe I have with it is the overrated sound of the Yamaha GX-1 when it would sound so much better using a Hammond. The Yamaha is more suited to the symphonic Pirates which, at a little over 13 minutes fits the prog mould far better, forming a mini-suite. Along with dinosaurs, you can’t go far wrong with pirates!


Works Volume 1
Works Volume 1

Yes also returned from the wilderness with Going for the One, an album which offered a nod to the punk ethos with the high-energy title track, albeit with a liberal dose of Anderson sensibility, with its trippy imagery (“so hard to find in my cosmic mind”) but the other four tracks are straight from the Yes universe. Parallels was left over from Squire’s Fish out of Water and is sonically closest to The Yes Album. With Wakeman back in the fold, the album is far lighter than Relayer and in Awaken, contains one of the best progressive rock songs, ever. There’s a nice balance in the compositions, with Wonderous Stories managing to compress a full prog epic into something less than four minutes to become a surprisingly successful single at a time when punk was riding high, and the understated, reflective Turn of the Century showing off Howe’s considerable talent on acoustic guitar. Yes music is always uplifting but this was somehow positive thinking presented in easy to digest chunks on a platter, beginning with the hope of Parallels, moving through unbounded joy (Going for the One) and reflection (Turn of the Century) to spiritual fulfilment (Awaken.) Wakeman’s return coincided with two solo releases: White Rock and Criminal Record, both very different from predecessors Journey and Myths and Legends, being much closer in style to Six Wives.


Going for the One
Going for the One

There were a number of other important releases through the year, many of which I also picked up at the time or within the next couple of years. Progressive rock fans readily took to Brand X whose 1976 debut Unorthodox Behaviour was followed up by Moroccan Roll. Their sound on the sophomore effort was fleshed out to a surprising extent with the inclusion of percussionist Maurice Pert, ensuring that any potential to stagnate as a straightforward fusion act was neatly avoided.

I’d already started to appreciate PFM and their 1977 release Jet Lag didn’t disappoint. I was catching up on jazz rock bands around this time and Jet Lag was the closest PFM would get to that sub-genre. I wasn’t too disappointed that the Sinfield lyrics had gone and was getting used to Bernado Lanzetti’s vocal style following his debut on Chocolate Kings. Bookended by the beautiful Peninsula and the anthemic Traveler the music and playing is outstanding throughout.

What did come as a shock was the change from Van der Graaf Generator to Van der Graaf. Losing both your organist and horn player might seem careless but Peter Hammill and Guy Evans reinvented the band with the return of Nic Potter on bass and the recruitment of violinist Graham Smith from String Driven Thing. The resulting The Quiet Zone/The Pleasure Dome is no less complex but far more rough and ready than VdGG and more immediate, as though Hammill was once more channelling Rikki Nadir. I didn’t buy the album until a couple of years later but I encouraged my brother to go and see the band when they played Leeds University during what would become the tour that produced Vital. Tony also went to see Camel during their 1977 tour (and tracks played at Leeds would appear on A Live Record also released in 1977) but I had to make do with listening to a friend’s copy of Rain Dances. The arrival of Canterbury legend Richard Sinclair cemented the Moonmadness drift towards a more jazzy direction but the collection of shorter songs, though still achingly melodic, was a bit disappointing. I think that of all the albums from 1977 that I listened to at the time, this was the one which I recognised as signalling a shift in the behaviour of the record companies, requiring the band to put out Highways of the Sun as a single. Evidence of the affect of punk on prog bands is best illustrated by the difference between Playing the Fool and The Missing Piece, both 1977 releases by Gentle Giant. The former, a brilliant introduction to the band in the guise of career-spanning compositions performed live which I bought on cassette is pure prog; the latter, not added to my collection until many years later for good reason, was like nothing the band had released before and is very disappointing.


More from 1977
More from 1977

Other notable records from 1977 which I acquired later include Genesis alumni Anthony Phillip’s The Geese and the Ghost, Peter Gabriel I (I did buy the Solsbury Hill single in preparation for seeing his first solo tour) and Steve Hackett’s Please Don’t Touch; I also recently bought a second hand vinyl copy of Seconds Out. England were a band who were unfairly accused of sounding Genesis-light who released the highly regarded Garden Shed. I saw them play in Barrow but didn’t buy the album until years later, one of my first internet purchases. I’ve since invested in a 2LP version with bonus material. The first National Health album also deserves a mention as it is one of the few albums which eschewed record company directives and is brilliant, melodic and complex. Along with England, they stood out as examples of how prog could have developed. The Enid represented a bridge from the first prog era and, like Van der Graaf, were accepted by the punk movement. They followed up the excellent In the Region of the Summer Stars with the sumptuous Aerie Faerie Nonsense. The US equivalent of late golden-period prog, recently added to my collection, is the first Happy The Man album released in 1977 which is a genuine treat.


If 1977 had some highs and lows, it wasn’t obvious until much later on in the year that the genre was unsustainable, coming under pressure from an industry which was just waking up to realise its global punch, partly through political developments. It’s interesting that the year began with Roger Waters’ onslaught against this political climate but half way through we were treated to a vision of hope but things went downhill fairly swiftly from 1978; forty years on January began with President Trump and despite the amazing scenes of Women’s Marches from around the world in reaction to the US election, I’m not very hopeful.

By ProgBlog, Dec 11 2016 08:03PM

It’s interesting to see how progressive rock faces the future. One of my latest gig attendances was for newcomer act ESP launching their debut CD Invisible Din, though the combined pedigree of the performers both on the new album and those playing live hardly warrants the ‘newcomer’ tag. ESP performed an updated symphonic prog rock which acknowledged some of the most influential movers from the first wave of prog but still managed to sound relevant and contemporary, not unlike some of the newer Italian bands, expressive and almost operatic. The stylistic contrast with Lazuli, who I witnessed at London’s Borderline last week could hardly have been greater. Lazuli have been around since 1998 and are well known and respected in their native France and around mainland Europe but have not had very much exposure in the UK, despite wowing crowds at Summers End in 2011 and 2013. Their music falls within the prog sphere but it is closer to the Peter Gabriel end of the spectrum, more akin to world music, especially their take on North African sounds and scales. Somewhat surprisingly given the heavy edge to much of their material and subject matter which includes a message supporting the cause to end violence against women and an indictment of the rise of the right-wing in France, it has an infectious joyfulness. Lazuli first came to my notice when I saw them at the Prog Résiste festival in Belgium in 2014 and it was quite obvious they were not only unique but that they had a devoted following on the continent so I wrote to Prog magazine to tell readers to make sure they went to see them when they next played in the UK. It’s likely that Lazuli will get a live review in the next edition of the magazine but ESP, who did have a Prog Italia journalist and photographer in attendance, have had neither an album nor live review.


Lazuli at The Borderline 5/12/16
Lazuli at The Borderline 5/12/16

From the recent to the beginning

If we accept that the progressive rock genre started in 1969 it’s hardly surprising that, given there have been 46 intervening years, a number of the main protagonists should no longer be with us. The prog world has once more been rocked by the death of one of the most important members of the prog family, Greg Lake, who succumbed to cancer earlier this week.

Lake’s influence can’t be underestimated. As a member of the first incarnation of King Crimson, it could be argued that he was one of the five young men at the vanguard of the movement, the coalescence of a musical idiom which was served fully formed as the LP In the Court of the Crimson King but also, according to music journalists and critics, a perpetrator of excess and pretentiousness, one of a handful of individuals responsible for the downfall of the genre at the end of the 70s. I first heard him on the self-titled ELP debut which I originally picked up because I was interested in Keith Emerson’s career development following the demise of The Nice. Emerson, Lake & Palmer remains one of my favourite albums, where despite my adoration of Emerson’s previous musical vehicle, there’s a noticeable qualitative improvement and cohesiveness on the first ELP album. This can be partly ascribed to the nature of the Nice albums, where The Thoughts of Emerlist Davjack (1967) was really psychedelia and Ars Longa Vita Brevis (1968) a mixture of psychedelia and proto-prog; these two albums are entirely studio efforts but suffer from poor production. The subsequent three albums Nice (1969), Five Bridges (1970) and Elegy (1971) all contain a mix of studio and live tracks. Although, in my opinion, Emerson Lake & Palmer is dominated by Emerson, in recognition of the status of the bassist and the drummer, both having come from successful bands, the contribution of Lake and Palmer is essential to the sound and feel of the album. Lake’s crystal clear voice was key to the sound of the first Crimson LP and made ELP far more accessible than The Nice, where Lee Jackson took on main vocal duties. Though all members of the band seemed happy with adaptations of classical pieces I’d always credited Emerson as the main proponent, balanced with the acoustic sensibility of Lake. Take a Pebble ticks all the right boxes for me by virtue of the amazing piano and the ensemble playing and if I’m honest I could live without the solo acoustic sections. Lucky Man is a different kettle of fish, where Emerson’s Moog is simply the icing on a near-perfect song. His experience with King Crimson coupled with reluctance from Emerson and Palmer to get involved meant that record production duties became the responsibility of Lake; the result is a well-balanced sound on the majority of the tracks tough I find The Three Fates a bit muddy. It’s clear that there were personality clashes between Lake and Emerson and initial splits over the direction of Tarkus (1971) seemed quite serious. Fortunately, Lake got on board and the Tarkus suite has become one of my most admired ELP long-form pieces, but there’s a lack of consistency on side two. Trilogy (1972) suffers from a similar fate, where the longer tracks are brilliant but there’s an abundance of shorter, throw-away music.

I suspect the mix of the serious, multi-part compositions and the short, not necessarily progressive rock songs was part of the reason for ELP’s success, where they could attract both the prog crowd and more adventurous rock ‘n’ rollers. I also think that the approach of ELP helped to bridge the gap between popular and classical music, introducing a new generation to the delights of Sibelius, Tchaikovsky, Mussorgsky and Bach but also opening our eyes to Copland and Ginastera. Brain Salad Surgery (1973) was a more consistent album but the production was thin and biased towards the treble. The triple live Welcome Back My Friends... (1974) may have been a triumph but the years spent touring, putting on huge shows with equipment unloaded from three articulated lorries, became another stick with which to beat the band as the music industry was changing in their absence; ELP’s excess was in stark contrast to the pared back ideology and sounds of punk. Even I wondered about Lake’s ‘plutonium’ bike mentioned in one of the music papers! All of this meant that the pretentiously-titled Works Vol.1 (1977) was hardly likely to be greeted with open arms by the critics. The band material was good but I thought it was spoiled by Emerson’s predilection for the Yamaha GX-1. I loved his Piano Concerto but much of the writing on the Lake and Palmer sides wasn’t really up to scratch and as a whole, the double LP was a bit like Fragile taken to extreme.

After Works Vol.1 I gave up on ELP, foregoing Works Vol.2 and Love Beach and not realising the three protagonists had toured in 1992 having reformed for Black Moon. The live album recorded at the Royal Albert Hall captures the band back on form and I wish I’d paid more attention to listing magazines at the time. I went to see Greg Lake at the Fairfield Halls in 2005, based on the mooted set list and was very pleasantly surprised. His voice wasn’t as clear as it had been 30 years previously but his band performed admirable versions of ELP and King Crimson numbers.

I finally got to see ELP at the High Voltage festival in 2010 on the 40th anniversary of their debut album which featured prominently. Despite a couple of minor problems they were totally amazing and I’m really pleased to have been there because it turned out to be their last ever gig.

I’m not a fan of the 45rpm single but, like many prog fans, I have a soft spot for Lake’s I Believe in Father Christmas – Lake and Sinfield at their concise best with a bit of Prokofiev thrown in. Lake is likely to be remembered for this single more than his contribution to progressive rock but he was there at the beginning of prog and shaped those early years with his choirboy voice, deft bass and acoustic songs. His death marks another major loss to the prog world.




Greg Lake b. 10th November 1947 d. 7th December 2016







By ProgBlog, Mar 13 2016 10:34PM

Already 2016 seems to have been blighted by more high-profile musician deaths than previous years. I was still reading articles about Sir George Martin’s legacy as late as Friday last week when news began to filter through about Keith Emerson. Is the death of a septuagenarian rock musician especially surprising? As I type this the single rumour that his death might have been suicide has gained more credence and though tragic for family and friends who might think they could have done something to prevent such an horrendous outcome, it comes across to this fan in the UK as shocking; the world of prog has lost a genuine pioneer.

After Yes, The Nice was the next band I became familiar with and though this was in late 1972, two years after their demise, it was before I discovered Emerson, Lake and Palmer. The Page family Nice collection was acquired in roughly reverse chronological order, beginning with either Elegy (1971) or Five Bridges (1970.) Tony was responsible for these purchases and it was only when I was a student in London that I bought my own copies. I remember that Nice (1969) was relatively difficult to come by; we called this album ‘red cover’ to distinguish it from the other releases as well as the group itself even though it had an ‘official’ alternative title, Everything as Nice as Mother Makes It. My copy of The Thoughts of Emerlist Davjack (1967) was a 1976 reissue on the Charly label with a Magritte-like cover illustration of a grand piano breaking through ice, credited to P Larue (Patrice Larue?)

I’d class most Nice material as proto-prog but the first two albums, Thoughts and Ars Longa Vita Brevis (1968) are psychedelic, with a link to another early British psychedelic act, Pink Floyd, through guitarist Davy O’List who stood in for an incapacitated Syd Barrett. The short songs are largely throw-away, not as original or as good as the early Floyd efforts, but Rondo, War and Peace and Dawn hinted at the greatness to come. Keith Emerson’s ability to blend jazz, rock and blues with classical music was the basis of the success of the Nice and subsequently, ELP. Whereas Pink Floyd developed space rock and dallied with the avant garde, Emerson took another route: rocking the classics. Equal parts virtuoso and showman, Emerson stood out as the first important keyboard player in rock; having ousted guitarist O’List as unreliable he showed that a keyboard trio was equal to any guitar-based band and influencing a number of other fledgling progressive acts. Bassist Lee Jackson and drummer Brian Davison were solid enough and would later show they were more than capable in Refugee with Patrick Moraz but the Nice was really all about Emerson. The Dylan adaptations were barely recognisable as songs by Bob Dylan, who I didn’t like but She Belongs to Me was a bit of an epic in the hands of Emerson, Jackson and Davison; Country Pie on the other hand was only acceptable because of the inclusion of Bach. The classical excerpts morphed into rock interpretations of lengthier pieces, so that the intermezzo from The Karelia Suite by Jean Sibelius, the tune used for the current affairs TV programme This Week became a staple live number and forms the track of main interest on side one of Ars Longa Vita Brevis, acting as a neat prelude to Emerson’s first recorded orchestral piece, the title track taking up the entirety of side two; there’s a naivety about this composition and it’s not really helped by poor production but I really like it.


If the Nice helped Emerson cut his arranging skills they were perfected early on, with more challenging compositions, in ELP. Their eponymous debut album remains high up in my personal prog top 10 and though I do like Take a Pebble and Lucky Man, it’s for the beautiful, flowing piano and the marvellous Moog respectively. Emerson may have dabbled with the modular Moog while still with the Nice and played the instrument from the beginning with his new trio but it’s on Emerson, Lake & Palmer (1970) where it makes its stunning first recorded appearance. Emerson’s ‘sound’ was defined as much by his synthesizer work as his organ or piano and the use of the ribbon controller allowed him to incorporate showmanship into his Moog playing, in the same way that attacking his L100 with knives and wrestling it to the floor or playing it from behind demonstrated his incredible ability on organ or sitting at a piano that revolved around in the air enhanced the live performances. School friend Keith Palmen was converted into a big ELP fan and it was probably at his house that I first heard Pictures at an Exhibition (1971), a brilliant example of both the excitement that the band could generate live and of the interpretative skills of Emerson.

In 1973 or ’74, when I started to become interested in ELP, I became aware how ELP divided opinion, such that my original vinyl collection included second-hand copies of Tarkus (1971), Pictures, Brain Salad Surgery (1973) and Works Volume 1 (1977) as disgruntled friends decided they’d outgrown the bombast and turned to either punk or smooth jazz. It could not be disputed that the 1974 tour promoting Brain Salad was something of a monster because it was turned into a road documentary and a triple live album. The version of Aquatarkus on Welcome Back My Friends to the Show That Never Ends (1974) remains one of my favourite ELP tracks; the solid rhythm of Palmer and Lake allows Emerson to really shine on organ and Moog, reminiscent of the backing provided by Jackson and Davison in the Nice.

The subsequent studio hiatus signalled the beginning of the end for ELP; while they toured and rested punk was hoiking over music fans. ELP came back strongly with a pretty good effort but the decision to allow one side of the double LP Works Volume 1 to each of the members and only one side of real group collaboration may, on reflection, have been the wrong approach. Emerson’s Piano Concerto No.1 is very enjoyable, building on his previous orchestrated pieces with the Nice and reflecting his admiration for Aaron Copeland but the ELP side has an updated sound, coming from the Yamaha GX1. Emerson is reported to have been quite smitten with this keyboard, eschewing Moog and organ on side 4 in favour of the new piece of technology. I find the sound thin, like so many late 70s and early 80s synthesizers, and would have preferred it if he’d stuck to his analogue instruments.

Having been unaware of the Royal Albert Hall gig in October 1992 that resulted in the excellent Live at the Royal Albert Hall (1993) I thought that I’d never get to see them play live. I’d managed to get to see the reformed Nice during a period of ELP disbandment in 2003 at Croydon’s Fairfield Halls, the venue for the recording of much of Five Bridges where the band were augmented by guitarist Dave Kilminster. Though at times the sound was quite poor and there were problems with Emerson’s Moog, it was a fantastic occasion, with the performance divided into a Nice portion and an ELP portion where Jackson and Davison stepping back to allow two other musicians to take over on bass and drums.

I finally got to see ELP at the High Voltage festival in 2010, the 40th anniversary of the debut album and though I’d have preferred a more intimate venue than London’s Victoria Park, it was an occasion not to be missed. The music was incredible and the atmosphere was rather special at this huge event. This would be the last time that the three would play together.



Jim and I went to see the Keith Emerson Band with the BBC Concert Orchestra at the Barbican last year, the highlight of which was an orchestrated Tarkus, but it was good to see Emerson taking the conductor’s baton for the encore Glorieta Pass. I believe this was Emerson’s last ever concert performance and though he seemed to relish his raconteur role as much as his musical contribution, he did appear somewhat unsteady. If it’s true that there were no more live concert appearances, I feel quite privileged that I attended two significant events, even though I missed out on classic ELP back in 1974 and only discovered the Nice two years after they’d broken up.



Emerson was an inspiration to keyboard players. He will be sadly missed.


Keith Emerson b. 2nd November 1944 d. 10th March 2016



By ProgBlog, Jul 27 2014 10:24PM

The idea of the Progblog is to challenge readers with my opinions so I don’t really have to warn you when I’m about to stray into forbidden territory. As a sometime bassist and therefore an honorary member of ‘the rhythm section’, I feel I have something valid to say about prog drummers, though it goes without saying that any drummer has the right to discount my opinions.

Actually, prog drummers tend to be more percussionists. Reading a band’s instrumentation on a set of album liner notes can be a bit of a giveaway, for example we are told that on Hamburger Concerto Colin Allen played drums, conga drum, tambourine, castanets, cabasa, woodblock, Chinese gong, timpani, handclaps, flexatone and cuica; on Romantic Warrior by Return to Forever, Lenny White played drums, timpani, congas, timbales, hand bells, snare drum, suspended cymbals and alarm clock. The incorporation of novel sounds in a rhythmical context (Andy Ward playing ‘Body Mist’) was an obvious attempt at pushing musical boundaries, something that was not likely to happen in a straightforward rock idiom, a cultural nod to musique concrète.

The incorporation of influences from 20th Century composers on the genre was another way of expressing a desire to show that progressive rock was a serious medium, distinct from rock ‘n’ roll, though this allowed critics to label the movement ‘pretentious’. These influences were demonstrated by the use of odd rhythmical meters and elements of dissonance but it is unusual time signatures that are an integral part of the make-up of prog.

Italian band Prophexy, one of the acts I saw at the recent Riviera Prog Festival in Genoa, has a slogan that says ‘no 4/4’ though I’d like to maintain that variation from a straightforward four beat is quite acceptable because rhythmical contrast is often sufficient to make a piece of music interesting. Shifting between time signatures is made to appear effortless by Guy Evans who would add extra beats to a phrase so that it fitted Peter Hammill’s lyrics; until I took up bass guitar I had no idea that The Fish (Schindleria praematurus), Chris Squire’s solo track on Fragile, was in 7/4 but I couldn’t help counting the beats on Pink Floyd’s Money because it stands out as being in 7/4 – not that it seems forced – it’s probably a combination of the contrast with Gilmour’s guitar solo which is in 4/4 and the straightforward rhythmic interpretation by Nick Mason with back beats on 2, 4 and 6.

Prog encouraged drummers to take their art seriously. Both Bill Bruford and Carl Palmer were exceptionally studious; Palmer was trained by classical percussionist James Blades at the Royal Academy and Bruford has been acknowledged as one of the greatest rock drummers who was at the forefront of drum innovation. Bruford had always wanted to improve his technique and, following his transfer from Yes to the ’72 incarnation of King Crimson, a band designed to be balanced with a drummer and percussionist Jamie Muir, he was forced into taking over the role of percussionist when Muir decamped to a monastery. This idea of having a full-time percussionist in addition to a drummer wasn’t necessarily limited to prog; session musician Ray Cooper may have appeared with Rick Wakeman but he also featured alongside mainstream rock and pop-rock acts such as Eric Clapton, Elton John and Billy Joel. Cooper was schooled in rock drumming but Maurice Pert, percussionist with Brand X, took a Bachelor of Music degree at Edinburgh and then went to study at the Royal Academy with James Blades. Pert may have had to share percussive duties with, at various times, Phil Collins, Kenwood Dennard and Chuck Burgi but his training as a classical composer and his technical ability as a soloist allowed him the space within this (jazz rock) band setting to make a distinct qualitative difference to the music of Brand X.

I know it’s simplistic to suggest that rock bands follow a repetitive kick drum-snare drum beat but the purpose of most rock ‘n’ roll music is to follow or induce base instincts; the sex and drugs and rock and roll Dionysian lifestyle. There are obviously sections in prog that require a steady beat but these tend to be punctuated to a greater degree by adding colour to the music on the top kit or by using dedicated percussion; in any case, percussive effects are being utilised to expand the sonic capability of the group.

I now have to profess a great dislike for drum solos, other than they provide an opportunity to go to the bar or take a comfort break. They are so rock ‘n’ roll, a musical euphemism for ‘look at the size of my genitals, I can perform harder, faster and longer than you’. Percussion solos are subtly different. Carl Palmer’s percussion movement on ELP’s adaptation of Ginastera’s Toccata featured timpani, tubular bells and probably the first use of a percussion synthesizer to appear on record, designed by Nick Rose specifically for the track. I say ‘probably’ because Ian Wallace’s drums were played through a VCS3 synthesizer on the live version of Groon that appears on Earthbound, however this is percussion played through a synthesizer rather than a percussion synthesizer... ah, semantics! All five members of Gentle Giant used to perform a percussion solo during live performances of So Sincere, culminating in a three-way xylophone movement performed by drummer John Weathers, guitarist Gary Green and keyboard player Kerry Minnear. This medieval sounding piece may have influenced French band Lazuli, where the entire band play marimba at the same time. The percussion movement on Nous Sommes du Soleil is another band affair, harkening back to Stravinsky challenging Paris opera-goers in the early 20th Century as Yes pushed progressive rock capabilities to the very limit.

My preference is for inventive drummers and somehow they all seem to draw from jazz. Bill Bruford exudes confidence and makes seemingly effortless movements; Andy Ward has a crispness; Carl Palmer adds so much to ELP’s sonic pictures; Michael Giles and Guy Evans play things that no other drummer would, helping to define the sound of early Crimson and Van der Graaf respectively. Pip Pyle was just brilliant. In a nutshell, a good drummer is an indispensable member of the band, not some faceless journeyman, someone who adds something to the whole.


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