ProgBlog

By ProgBlog, Sep 14 2021 09:55PM



A year after my last attendance at a live music event, 346 days to be precise, I finally got to see bands playing again. I bought my ticket for Steve Hackett at Croydon’s Fairfield Halls, my local medium sized venue, due on Monday 4th October and thought that this was going to be the first gig of 2021 but I’d totally forgotten about the rearranged and re-rearranged HRH Prog X at the O2 Shepherd’s Bush Empire which took place over the weekend of September 4th and 5th. An indication that the country is genuinely gearing-up to what musicians, the support crews and fans hope will be business as usual was the presence of flyers at the venue, advertising another multi-band gig before I get to see Hackett – A Sunday in September at The Bedford, Balham SW12, and I’ll be heading off there too on the 19th, to see Abel Ganz, The Emerald Dawn, The Gift, IT, Hats Off Gentlemen It’s Adequate and Tom Slater.


Business as usual? I’m not a fan of how the government has handled the Covid pandemic and I’m pretty sure that Boris Johnson, Rishi Sunak and Sajid Javid were delighted to announce the end of all public health restrictions in England on July 19th, in effect washing their hands of responsibility for what has turned out to be a sharp rise in Covid-related cases and concomitant hospitalisations and deaths. How much would it cost to enforce mask wearing in enclosed spaces and to maintain measures to ensure physical distancing? It was interesting to note that during the Prime Minister’s statement on Afghanistan in Parliament all but six of the Tory MPs crammed onto the government benches were without facemasks, while almost all the opposition MPs were masked and observing some degree of social distancing. This was on a day when 41192 new cases of Covid infection were recorded along with 7606 Covid patients in hospital and 45 Covid-related deaths; if this is to be the new normal, I don’t really want to be a part of it. I’d rather gigs were postponed and all those in the industry were properly supported – the furlough scheme hardly touched musicians and the industry that supports live music. A truly radical Chancellor of the Exchequer would have used the pandemic to introduce a Universal Basic Income for all.


The Covid-prevention measures in place at the Shepherd’s Bush Empire were rational and well-organised. ‘Rock The Mask’ posters were everywhere and the organisers had sensibly signed up to the use of the so-called Covid Passport. The prog-watching demographic should mostly be covered by double vaccination and I like to think that if you think about your music you’re also likely to think about the benefits of being vaccinated and maybe subscribe to the view that it’s pretty important to ensure the rest of the world gets vaccinated before we head any further down the road to the old normality. Let’s be quite clear here, as much as I’ve missed being in Italy I’m not happy about travelling while cases continue to rise in the UK and less than 30% of the world’s population is double vaccinated. The virus is still circulating and sooner or later a vaccine-avoiding variant is going to emerge unless we respond globally, and quickly. Individuals need to get a grip – write to your MP and tell them to put people before the economy. I’d be happy for a circuit-breaker if that becomes necessary, on the condition that the Prime Minister, Chancellor and Culture Secretary all acknowledge how much the UK music industry generates for the economy and ensure that no one in the business slips through the support net again if live music has to temporarily stop.


My previous HRH Prog experience (HRH Prog 4 in 2016) was something of a mixed bag. The venue was fine, especially if you were in one of the apartments rather than a mobile home, and there is a lot to see in the Welsh countryside around the Hafan y Mor site when not listening to music. However, a major complaint aired by the three travellers in the car heading home at the end of the weekend was ‘where was the prog?’ I don’t mean to get into a ‘what is prog?’ argument but the unannounced replacement of Curved Air with Purson was a major disappointment because Purson played psychedelic-tinged rock. And who ever labelled Edgar Broughton as progressive rock? On the other hand, I did enjoy Caravan, Soft Machine, Focus and Ian Anderson though I’d certainly have been more reluctant to sign up to the event back in 2020 if I’d known I was going to see the line-up as it appeared this year.


Ticking off Soft Machine in 2016 was a milestone. Without any of the original members they were still worthy of the band name, with John Marshall, Roy Babbington and John Etheridge all having served time in the outfit during the 70s when the line-up was in near constant flux. This year’s equivalent was getting to see Colosseum, a band I've not seen before on my list as a ‘must-see’. I probably heard Colosseum II before I heard any original Colosseum and my collection still only consists of the Daughter of Time compilation CD and Valentyne Suite on vinyl, so my appreciation of the band, without Jon Hiseman who died in 2018 and Dick Heckstall-Smith who died in 2004 but also missing Dave Greenslade who retired in 2015 was largely going to be based on unknowns. Long-standing guitarist and bassist Clem Clempson and Mark Clarke were present along with vocalist Chris Farlowe, accompanied by Malcolm Mortimore (ex-Gentle Giant) on drums, Kim Nishikawara on saxophones, and Nick Steed on organ. I loved the two instrumentals at the start of the set but I'm not a fan of blues-rock which unfortunately made up the majority of their material, so I was a little disappointed with the rest of the performance, even though the playing couldn't be faulted.

One useless fact I picked up was Clempson and Farlowe are fans of the venue because neither had too far to travel; Clempson lives about 200m away!



Ozric Tentacles were another band I'd not seen before and one where I'd toyed with the idea of buying one of their early albums – my local second-hand record shop had a copy of Pungent Effulgent but by the time I’d made up my mind to obtain it, someone had got there before me. Suffice to say it wasn’t quite what I was expecting and no psychoactive substances on the planet could have helped me comprehend the music even though I’d describe myself as an old hippie. I thought it lacked tonality and was a little shambolic, exemplified by former member-now guest synth player Joie Hinton who couldn’t get his keyboard rig to work.



On Sunday the first act of note was Bram Stoker, a band formed in the late 60s who would acquire a 'Progressive-Classical-Rock-Gothic-Psychedelic Rock' tag over the next three years, later categorised by Black Widow Records’ Massimo Gasperini as 'dark prog'.

This was an enjoyable set dipping into the band's past - they disbanded in 1972 and reformed in 2009 but underwent a personnel change in 2014 and again in 2019, the one constant being Tony Bronsdon on keyboards. I recognised Fast Decay, Like Autumn Now and Joust from Cold Reading (2014), a collaboration with Tony Lowe which revisits a little of the material from the debut album, and having recently read Horace Walpole's The Castle of Otranto, dubbed 'the first Gothic novel', loved Otranto from the 2019 album No Refection.



Atomic Rooster were another band I’d wanted to see and another band where I’d thought about buying either the eponymous debut or Death Walks Behind You because of their importance in the prog canon, but I’ve always been put off by their blues roots.

Formed in 1969 after splintering from The Crazy World of Arthur Brown (the preceding act at the festival, skipped for a trip into Shepherd’s Bush for something to eat), organist Vincent Crane was the only constant member of Atomic Rooster in a perpetually changing line-up until his death in 1989. His widow gave permission for the band to reform in 2016 with sometime members Pete French (vocals) and Steve Bolton (guitar), plus bassist Shug Millidge and drummer Bo Walsh, and the 2017 recruit Adrian Gautrey on organ, who managed to fill some pretty large boots. At the end of the set I was still reluctant to take a chance on one of the albums.



I hadn’t intended to listen to the Threshold performance but sat through what I thought was pretty uninspired prog metal. The bass was quite upfront, not necessarily a bad thing, but the keyboards were terribly under-mixed resulting in music lacking variation, more metal than prog despite the theatrical delivery. Johanne James’ drumstick twiddling deserves a mention because there was an awful lot of it!



The headline act was The Enid, who I’d been listening to since the mid-late 70s but didn’t get to see them play live until 1983 and witnessing The Spell premiered at the Hammersmith Odeon. I most recently saw them with Joe Payne in 2014 in Balham and 2016 at HRH Prog 4 and was disappointed on both occasions, but their performance at HRH Prog X was by far the best I've seen, including the poignant In the Region of the Winter Stars - a rearrangement of the familiar Summer Stars.



The Enid provided an excellent end to the weekend as HRH Prog X marked the beginning of a return to live prog. I’ve done my best to follow the scientific advice to minimise the spread of Covid and there was a feeling that most of the audience, certainly the others with VIP tickets on level 2 where face masks were evident if not always covering mouths and noses, took the step to normality with an appropriate degree of caution. The musicians were obviously relieved to be performing once again but I really don’t think we should rush into getting back to live events as they were up to March 2020, abandoning mitigating measures put in place to prevent the spread of the virus. Sure, the pandemic has been dragging on for 18 months now and we’re all getting antsy but it’s a careful approach, taken by each and every one of us, which will ensure we do finally emerge from the coronavirus nightmare without losing more family, friends and musicians unnecessarily.











By ProgBlog, Apr 1 2020 08:51PM

A list of recent past, present and future happenings in the prog world



ProgBlog's March acquisitions
ProgBlog's March acquisitions

March additions to the ProgBlog collection, a short list due to constraints imposed to reduce the spread of Covid-19: Garofano Rosso (Vinyl) – Banco del Mutuo Soccorso; Broadcasting from Europa 1 (bootleg) (V) – Pink Floyd; Beaubourg (V) - Vangelis; Star’s End (V) – David Bedford; Casino (V) – Al Dimeola; The Universal Play (V) – Gandalf; Time & Tide (V) – Greenslade; No Smoke Without Fire (V) – Wishbone Ash; Worlds Within (V) – Raphael Weinroth-Browne; The Stone House (Download) – Wingfield Reuter Stavi Sirkis; 20180311 Sono Centrum, Brno (D) – Stick Men; Kopfmensche – Markus Reuter (D); From A Page/In the Present (Live from Lyon) (V+CD) – Yes; Angel’s Egg (V) – Gong; Frozen Radios (D) – [‘ramp]


The recent past


Live report: Lifesigns, The Half Moon, Putney, March 11th


I’m a recent convert to Lifesigns, having re-appraised my original opinion from 2013 or 2014 and really enjoyed their performance at Trading Boundaries last summer. With a few more listens under my belt, I thought the Half Moon gig was better and I put this down to greater familiarity with their material. As much as I liked Trading Boundaries as a venue, I’m not convinced that a post-prandial concert setting is the most conducive for a good atmosphere – those of us who didn’t eat had to stand where we could while waiting staff moved in and out; at the Half Moon there wasn’t too much to-and-froing between the bar and where I was standing. In fact my chosen position afforded an excellent view of three quarters of the band, with only Frosty Beedle obscured behind his drum kit.


Lifesigns at the Half Moon, Putney 11-03-2020
Lifesigns at the Half Moon, Putney 11-03-2020

What was more obvious to me this time was the band’s dual persona: the exceptionally proggy bits (Jon Poole’s excellent bass work at times reminded me of Chris Squire’s approach, and apart from being a very good keyboard player, John Young revealed an exceptionally discerning taste in music on My Prog Five hosted by The Prog Report on YouTube); and the more pop-centric songs like Imagine. That Lifesigns can do pop shouldn’t come as any surprise given the pedigree of the musicians but Imagine, where the Lifesigns trademark vocal harmonies combine with an uplifting melody, could quite easily become a hit single if the right DJs heard it. I played the Imagine video to my wife, who is not a fan of prog, knowing that she’d like it. When I first heard it last year there were sections that reminded me of The Beatles; the first band that comes to mind now is Take That! I don’t mean to put-off diehard prog fans, because they’re a really great live act and most of the music occupies classic prog territory, even when they combine extended workouts with more accessible sections, like on At the End of the World. There was more than one moment during the gig that I was reminded of Yes’ stretched-out sections, not least because of Dave Bainbridge who at times employs a style not unlike Steve Howe. I’m really impressed by Bainbridge, who also plays gorgeous fluid guitar that calls to mind Allan Holdsworth.

This short UK tour included more material from the upcoming album than last year, with Gregarious a recent addition to the set, though favourites from the first album and Cardington were featured. Young has suggested that it’s getting more and more difficult to choose which songs to play, but I’m pleased that that Lighthouse, Cardington and N got an airing.

Considering that concern was growing over the spread of the novel coronavirus Covid-19, the gig was well attended and was very well received by all present


Lifesigns, Half Moon Putney 11-03-2020
Lifesigns, Half Moon Putney 11-03-2020

Covid-19 gig cancellation chaos


The North American leg of the Big Big Train 2020 tour has been cancelled, but the European dates for July are currently still scheduled


HRH Prog 9, scheduled for mid-March but postponed, has now been combined with HRH Prog 10 and rescheduled for October 17th and 18th at the Shepherds Bush Empire, London and the O2 Academy, Sheffield. Tickets and accommodation bookings have been transferred so those who had booked for the March event don’t have to do anything




Van der Graaf Generator have postponed their 2020 European tour. The London show is now scheduled to take place on November 19th. Details can be found here:

http://www.vandergraafgenerator.co.uk/#gigs


The Watch have postponed gigs on their A Prog Journey 1970/1976 tour. They were due to play in the UK in early April, including a show at Trading Boundaries on the 11th. Live music at Trading Boundaries has been suspended until at least the end of May


Available now or soon


Remastered (Download) by Astroligator, versions with and without lyrics (prog metal) – available now via Spotify


Fifth Dimension by Scarlet Moon (prog metal) will be available everywhere(!) from 3/4/20 – see http://scarletmoonmusic.com/ for details


Dante’s Inferno (EP) by Flight of Eden (prog metal) – available 9/4/20 via Bandcamp


All My Yesterdays (book) by Steve Howe will be published on 16th April and is available to pre-order from Burning Shed



Nostalgia for Infinity (CD) by Hats Off Gentlemen it’s Adequate (prog/alt-rock) – available 6/5/20 via Bandcamp









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.


Christmas present - Three Piece Suite by Gentle Giant
Christmas present - Three Piece Suite by Gentle Giant

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.


The line-up at The Dublin Castle 4/1/18
The line-up at The Dublin Castle 4/1/18

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.


Broken but Still Standing by Hats Off Gentlemen It's Adequate
Broken but Still Standing by Hats Off Gentlemen It's Adequate

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.


Hats Off Gentlemen It's Adequate set list 4/1/18
Hats Off Gentlemen It's Adequate set list 4/1/18

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!


Sale bargains from Croydon's 101 Records
Sale bargains from Croydon's 101 Records

I’m not sure I’ll ever stop wanting more music...








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Welcome to ProgBlog

 

I was lucky enough to get to see two gigs in Italy last summer while the UK live music industry was halted and unsupported by the government, and the subsequent year-long gap between going to see bands play live has been frustrating - but necessary.

The first weekend in September marked the return of live prog in England, and ProgBlog was there...

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