ProgBlog

Welcome to the ProgBlog

 

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, May 14 2017 06:07PM

Gig review by Mike Chavez


Despite being aware of Steve Hackett since the early 80s it’s taken until now to finally get to see him, and it was hearing the thoroughly excellent Genesis Revisited II last year that swung it for me to get tickets this time. The tickets were bought a good six months ago, and despite getting in very early a huge block of seats near the front was immediately taken, leading me to think that the resellers and touts were seeing this as some kind of beano. So middle of row Z it was then, accompanied by my gig buddies Mike and Lois. Happily the Colston is quite forgiving if you don’t have the best seats, and the sound was excellent too.


The show was billed as Genesis Revisited with Classic Hackett, and there were heavy intimations beforehand about likely plundering of Genesis’ Wind & Wuthering album on its 40th anniversary. In a show of two halves we started with Classic Hackett, including three tracks from the very well received new album The Night Siren, plus half a dozen others including Serpentine Song and the set closer Shadow of the Hierophant.

Despite being not particularly au fait with the music being played I enjoyed it immensely as the material was good and the musicianship excellent. Music played by players at the top of their game is seldom going to be disappointing. The typical guitar, bass, keyboards, drums line up I was expecting was augmented by Rob Townsend on a variety of instruments including flute, percussion and sax. I know now that Rob is a regular on Hackett tours, and he really does add an extra dimension to the music, as well as bringing some interesting jazz and eastern influences. Regular Hackett performers Gary O’Toole (drums) and Roger King (keyboards) were joined by the mighty Nick Beggs on bass and a variety of guitars, presumably killing time between Steven Wilson tours and the myriad of other things he gets up to. Hackett himself was looking very good for his years, and was content to allow the others their chances to shine. Buttering up the crowd he told us how beautiful a place Bristol was…and that he wished he could afford to live here! Come on Steve, the times aren’t that tough mate, even you could probably get a three bed semi in Knowle West.


After the break we got the Genesis Revisited work, which did draw heavily from Wind & Wuthering as predicted. Vocalist Nad Sylvan joined the band for set two, resplendent in a garish long coat that would not have looked out of place on an 18th century fop. We got most of Wind & Wuthering, including One for The Vine, Eleventh Earl of Mar and Afterglow, and the excellent Inside and Out, which was left off the album and included on the Spot the Pigeon EP, a hit single back in 1977. Hackett swapped out a few Tony Banks keyboard lines for his own guitar lines here and there, but then it was his show after all. One of the highlights for me was drummer Gary O’Toole singing Blood on the Rooftops, which he made a great job of, in fact I much prefer his vocal to that of Phil Collins. I would have said it was unusual to hear a drummer do the vocals, but then you can’t really say that about a Genesis track…

The rest of the show was not too dissimilar to the Seconds Out live album, Hackett’s Genesis swansong where his guitar was allegedly mixed down after his announcement to quit: Firth of Fifth (but with the beautiful piano intro restored), Cinema Show, Dance on a Volcano and Musical Box thrilled the crowd, with Slogans (from Defector) and Los Endos as the encore to close a set lasting just shy of 2 ½ hours, and receiving a standing ovation from the audience.


The chroniclers often tell us there are two versions of Genesis, the Gabriel led prog legends and the Collins led pop band. That doesn’t nearly tell the whole story, and it certainly didn’t all change or turn to rats when Gabriel quit the band, in fact both A Trick of the Tail and Wind & Wuthering are great Genesis albums in my opinion. The turning point for me was Steve Hackett leaving, so perhaps the Hackett years and the Collins years is a more appropriate way to segment the band’s career. No offence Anthony Phillips!

I had pretty high expectations for this show, I wasn’t disappointed. I’m just wondering why I waited 35 years to go and see him live.


If you’re quick there are still four UK dates left, with the final one in London on Friday 19th


Full set list:


Set 1 (Classic Hackett):

1. Every Day

2. El Niño

3. The Steppes

4. In the Skeleton Gallery

5. Behind the Smoke

6. Serpentine Song

7. Rise Again

8. Shadow of the Hierophant


Set 2 (Genesis Revisited with Nad Sylvan):

9. Eleventh Earl of Mar

10. One for the Vine

11. Blood on the Rooftops

12. ...In That Quiet Earth

13. Afterglow

14. Dance on a Volcano

15. Inside and Out

16. Firth of Fifth

17. The Musical Box


Encore:

18. Slogans

19. Los Endos



By ProgBlog, Dec 6 2015 09:34PM

I’ve now set up my new Rega RP3 and have started to put on vinyl in preference to my somewhat larger collection of CDs. My first record deck, bought from Comet within days of finishing work at Barrow’s Steelworks during the annual two-week shutdown in the summer of 1978 (when the UK still had a sizeable steel industry) was a Pioneer PL-514. This solid piece of kit had a heavy aluminium platter and a thick rubber mat and I really liked it. I wasn’t too fussed by the tone arm lifting at the end of an LP but it had a fairly basic design and I thought it sounded pretty good – I paired it with an Ortofon OM20 and though I passed this on to my brother-in-law in the mid 80s, I still have the original Pioneer screwdriver for attaching the cartridge.


The new Rega Planar 3
The new Rega Planar 3

When I was choosing my hi-fi I believed it important to stick to basics; there was a NAD turntable that came out shortly afterwards that could be played vertically but I thought that was rather gimmicky. The speed change on the Pioneer was a choice between 33 rpm and 45 rpm whereas the record player that I had been using, a sprung turntable in a walnut-finished stereogram, include 78 rpm and may even have had a 16 rpm selection. Neither of the two Regas I’ve owned have had speed selector and you have to manually move the drive belt if you want to switch between single and album formats; the default position is 33 rpm.

One of the defining features of progressive rock is that the music expanded beyond the constraints of the sub-3 minute single, allowing for development of ideas and sonic experimentation. It’s no coincidence that the time of progressive rock was also a golden period for album sales where the gatefold sleeve was a gateway to other worlds, allowing the listener to immerse themselves in intricate artwork and song words imbued with meaning.

I don’t believe I ever played a single on my old RP2 and I can’t play any on my RP3 because I don’t own any. I have bought singles in the past, the first of which was probably Solsbury Hill (1977) by Peter Gabriel, bought in lieu of his first album to see if I liked the material enough to warrant going to see him on his first solo tour. I did. My friend Bill Burford also dabbled in singles, though his first, And You and I, with Roundabout on the B side (1973) was played at 33 rpm. I seem to recall he later went on to buy Don’t Kill the Whale (1978) as a single because I was unimpressed with the B side, Abilene; it reached no. 36 in the UK charts. His next was Rock n Roll Star (1977) by Barclay James Harvest, from Octoberon, released the previous year. We’d been to Lancaster to see BJH during their Time Honoured Ghosts tour but Octoberon, like many releases by progressive rock bands at this time, had a more commercial sound than the earlier material. Rock n Roll Star reached no.49 in the UK single charts and earned the band a slot on Top of the Pops; though Wonderous Stories wasn’t really overtly commercial it was single-length and when Yes released that in 1977 it peaked at no.7 in the UK charts and appeared on Top of the Pops on more than one occasion but I had no need to buy the single because I already owned the album. There was also no need to rush out to buy Camel’s Highways of the Sun, the single released from Rain Dances (1977). This radio-friendly number was somewhat at odds with the jazzier and experimental tracks on the album but it still didn’t manage to climb into the Top 50. It was undeniably Camel at their most melodic and was only as concise as the other material yet, though the sleeve notes for the 1991 CD reissue suggest otherwise, it does seem to possess a commercial or accessible quality that’s not present on the other songs. What I did buy was the Genesis Spot the Pigeon EP, left-over material from Wind and Wuthering (1976) that reached no. 14 in the singles charts in 1977. The two tracks on side A are very throwaway, especially Pigeons. Match of the Day is slightly better and it’s these two songs that give rise to the title of the EP, a play on the ‘spot the ball’ football competitions. Side B is a very different kettle of fish, where Inside and Out, the only one of the three songs to feature Steve Hackett in the song writing credits, hints at early Genesis and includes enough changes of mood to warrant its inclusion on Wind and Wuthering in place of the uninspiring, insipid Your Own Special Way, a track that even more than Afterglow signposts the direction that Genesis would take following the departure of Hackett.

I bought Anita Ward’s Ring My Bell (1979) from Elpees in Bexley when I was a first year student on the same day that I bought a Deutsche Grammophon release of Handel’s Water Music. I have claimed that I bought it for the use of the syndrum but I think that I had to get it because I’d threatened to buy it and friends Jim Knipe and Mark Franchetti probably didn’t believe me; I also attended an Ash Wednesday mass because I said I’d go as a joke and Mark didn’t believe me. I didn’t play Ring My Bell very often and it’s long since been despatched to a charity shop, though I can still sing along when I hear it on the radio...

I lived at various addresses in Streatham during my final undergraduate year and for the first couple of years as an employee of the National Blood Transfusion Service and picked up singles by The Enid and Marillion from the bargain bin an independent record store.



Mark Wilkinson's sleeve for the Garden Party 7" single
Mark Wilkinson's sleeve for the Garden Party 7" single

These were picture sleeve editions of Golden Earrings b/w 665 The Great Bean (from 1980) and Garden Party b/w Margaret (from 1983) respectively. Marillion managed to get to no. 16 but the humorous 665 The Great Bean, containing the lyrics “the discos in heaven all shut at eleven and they only serve pop in the bar, sir. I’ll put you at ease with some good Lebanese, a blue film and two or three jars, sir” and sung to the tune from The Devil (from In the Region of the Summer Stars) failed to trouble the singles chart compilers. Though not over-impressed by the live recording of Margaret I did rather like the attack on elitism in Garden Party, the lyrical content in general and some great musicianship. I could see where the accusations of imitating Genesis came from but that was really only a small part of the music; I loved Pete Trewavas’ trebly, staccato bass lines. It’s therefore somewhat surprising that it took me so long to buy any of their albums. Also in the bargain bin were copies of UK’s Nothing to Lose and I did feel that perhaps I ought to have supported the band by buying a copy, even though I already owned Danger Money (1979) and Night After Night (1979).

Throughout my youth I resisted the urge to by the odd prog single that I didn’t own on album, unable to reconcile their value and cost; I did splash out on two Asia 12” singles, at £0.99 each from the Tooting branch of Woolworth’s in 1984 or 1985 that I gave to two girlfriends. They were the last singles I ever bought and one remains in my household; one went to my wife-to-be Susan. I think she might like Asia’s music more than me...


Asia's The Smile Has Left Your Eyes with Roger Dean sleeve - 99p bargain
Asia's The Smile Has Left Your Eyes with Roger Dean sleeve - 99p bargain




fb The blogs twitter logo HRH Prog 4 Line Up (F+B) Keith Emerson at the Barbican My Own Time