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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, Mar 12 2017 07:55PM

The Burning Shed email announcing pre-orders for a 4LP King Crimson Live in Toronto box set is rather tempting, especially if the audio quality is of the same order as Radical action to unseat the hold of monkey mind. I’m a fairly avid record and CD collector but my criteria for choosing music are somewhat rigid, so that my music library isn’t really very big at although I’m pretty sure I have a progressivo Italiano collection that’s as good as anyone’s in the UK. In the past it wouldn’t have been unfair to label me as completist as I was prepared to invest in an album that I knew was substandard in the hope I’d get around to liking it, Talk and Open Your Eyes, both poor fare compared to Yes’ early benchmark being prime examples but over time I’ve accepted that tastes and musical directions change, so I don’t have to like everything by a particular group.



The bulk of the material that makes up my library is symphonic progressive rock and RPI with a bit of jazz rock, jazz and RIO thrown in, the majority of which is from the golden period between 1969 and 1978 but I’m now shifting towards new vinyl (if possible; hence my interest in Live in Toronto) and I’m becoming a sucker for special editions. I’ve got the Larks’ Tongues in Aspic, the Starless and the Road to Red box sets and, having seen Crimson play the Hackney Empire on the same tour as the Toronto and Radical Action recordings, I bought the special edition 3CD, 2DVD, 1 Blu-Ray box set of Radical Action. I have a copy of the original Great Deceiver box set and picked up my 4CD Epitaph box set when I attended the Epitaph playback in London. I was never a member of the King Crimson Collectors' Club even though I was interested in the ProjeKcts and virtually everything else DGM were doing at the time; I have a couple of these releases and have heard more – my brother Richard subscribed in the early days of the KCCC and I think if the series restarted I’d probably now sign up.


So what is it about collecting different versions of the same material? The answer, in respect to Crimson, relates to a couple of things: the historic-cultural-sociological value of the music and the innate variation-development of each individual song. In relation to Yes, up until the release of Progeny: Seven Shows from Seventy Two, there was no live recording from any part of their history which fully captured both the sound and the spark of the band in full flight. The dynamism of Yessongs was hampered by muddy production but the discovery of the master tapes used as source material for Yessongs a couple of years ago meant that, with the benefit of current digital editing, a sound accurate to the original instrumentation, including radio interference on Rick Wakeman’s Mellotron, could be presented to the listener for the first time. The packaging of this box set does full justice to the audio from nine tracks presented on each date, which over three weeks display a subtle musical development as the group becomes ever more familiar with presenting complex songs to each audience. It’s also clear how Jon Anderson’s voice becomes stronger as he recovers from influenza!


The first Yes gig I attended was a matinee performance at Wembley Stadium on October 28th 1978. I had thought that the concert had been broadcast live on BBC radio and that the Yesshows version of Don’t Kill the Whale was from that afternoon’s performance but Alan Freeman’s last ever Saturday Rock Show was broadcast two months previously, on August 26th 1978. A check of various sites suggests there were multiple radio broadcasts and it’s likely that the Yesshows version of Don’t Kill the Whale came from the evening show, which was broadcast on Tommy Vance’s first ever Friday Rock Show on November 24th. I did buy an official copy of the Yes gig on November 17th 2009 as I walked out of the Hammersmith Apollo post-performance, saved onto a USB memory stick, and had to download the encores later.


There was a bit of a craze for producing immediate post-concert releases around this time and I also bought a copy of a Caravan gig, a performance to mark the 40th anniversary of In the Land of Grey and Pink, the majority of which was burned to CD during the show at the Shepherd’s Bush Empire in October 2011. Unfortunately, Pye Hastings appeared to have a cold and his vocals suffered as a consequence.



I don’t own any live Crimson recordings at which I’d been present. If any was to be released, I’d immediately buy it without a second thought. This constitutes fanaticism and I’m a little ashamed by such obsessive behaviour which is certainly unnecessary and borders on the irrational.

I’m not interested in any form of material value of these releases based on their rarity and however limited their print runs are, but I do get a feeling of deep satisfaction listening to music that I like. I’m far more interested in ensuring the artists get the best deal possible so I prefer to buy through Bandcamp or a store like Burning Shed where it’s possible to pick up a limited edition that might come in coloured vinyl or come with a poster or postcard. When AMS re-released the English version of Le Orme’s Felona and Sorona this came on blue vinyl and their re-release of Terra in Bocca by i Giganti, one of first and most difficult to find progressivo Italiano records came with a poster on red vinyl; Anderson-Stolt’s Invention of Knowledge came with a CD of the album and, also from Burning Shed, Kaipa’s re-released self-titled debut came on blue vinyl and included a CD of the album; Höstsonaten’s Cupid and Psyche came on red vinyl, with a postcard and signed by Fabio Zuffanti. One more example, though there are plenty more, is the limited edition box set of Caution Radiation Area I bought in Alessandria last October which came with a vinyl LP, the CD and a set of postcards featuring the individual band members.


There’s not usually any extra charge associated with ‘special releases’ but they do demonstrate more of an engagement with fans. I first noticed this extra effort when Dark Side of the Moon came out in 1973 which included posters and stickers. This was the start of my acquisition of progressive rock-related memorabilia and though the posters and stickers eventually found their way into the bin, having become torn after application and removal from too many bedroom walls as I moved around London as a student and during my early employment. Fortunately, the 40th anniversary vinyl edition included reproduction posters and even my 20th anniversary CD came nicely boxed with individual pieces of specially commissioned artwork. I still have the Wish You Were Here postcard and robot handshake graphic from the black shrink wrap, stored in a Mr Men scrapbook along with other bits and pieces which charted my adolescence. Despite the fall in popularity of prog during my student days, I still managed to fill the scrapbook with ticket stubs and flyers from a variety of events, each announcement and receipt marking a point in time of particular personal relevance; a source of reference for the future. I was fairly impoverished as a student and my prudent streak extended into my early working life, since NHS laboratory work wasn’t particularly well-paid. Instead of buying an official tour program when Pink Floyd played Wembley Stadium in August 1988, I picked up an unofficial program for half the price. As the 90s wore on and it was once more possible to seek out regular suitable gigs, DGM issued a number of promotional postcards alongside a couple of sampler CDs which I collected.



There was a short time where I’d buy a T-shirt instead of a program, rarely both, and when musicians realised that there was a viable livelihood from playing more intimate venues, the post-show merchandise stand became a place of engagement between artist and fans, acting as an encouragement for the audience to perhaps spend a bit more money than anticipated; prog-mate Gina Franchetti had a long and involved conversation with Thijs van Leer about Italian cuisine at the Focus merchandise stand after a gig at the Beaverwood Club but you can also pick up some unusual objects. I’ve liberated A3 sized posters from the walls of venues on my way out after the show on more than one occasion and even got Sonja Kristina to autograph one of these, a Curved Air promotional poster, for me.

I used to have a large collection of badges until I got rid of it about 20 years ago. This included a few rather obscure items like a Brand X crocodile (from Do They Hurt) a Gradually Going Tornado pin and an Enid Touch Me pin but I’ve started to buy badges again – for no obvious purpose. I’ll continue to buy T-shirts and programs but it’s most worthwhile to buy the music at the gig; the signed copy of at the last Steven Wilson Concert; the official release-date copy of Invisible Din by ESP. On another occasion I was all fingers and thumbs attempting to remove the shrink wrap from a just-purchased Anna Phoebe EP so that she could sign it; in the end she did it for me. It’s this degree of connectivity and personal generosity that makes the prog world stand out as a beacon of inclusivity and which makes it worthwhile doing the collecting.












By ProgBlog, Dec 18 2016 09:32PM

After the death of Greg Lake and a subsequent marathon session of listening to very early King Crimson and ELP albums I’ve not really had much opportunity to listen to music over the past week, my leisure time being taken up with two home games for Crystal Palace, a variety of reunions and a work Christmas party. Not being someone who rejoices in either the religious or commercial nature of Christmas, I find it a bit of a challenge when it comes to interacting with those that do get into the Christmas spirit. One of my gripes is the radio at work which is either tuned to a station broadcasting non-stop Christmas singles, other than Lake’s I Believe in Father Christmas which I wouldn’t actually mind hearing, or tuned into something with more edge playing more contemporary chart rubbish; another is the seasonal TV programming which invariably excludes me from being part of the stereotypical family and which becomes ever more tired each year; and another is the general encouragement to eat and drink too much.

The idea of a reunion is to catch up with old friends but it’s difficult to communicate effectively in a crowded pub where the televised sport competes with the piped music. Having said that, en route to the work Christmas meal, we stopped off at Turner’s Old Star in Wapping where the vanguard were able to drink, talk and play pool for over an hour with only a couple of locals in attendance. This turned out to be the calm before the storm as the meal was held at Tobacco Dock and we were a small group amongst around 1000 other revellers. The live band seemed very professional but they weren’t likely to play anything remotely interesting or challenging, unlike the entertainment at the gala dinner for an American Society for Histocompatibility and Immunogenetics (ASHI) annual conference in Dallas in 1995 where the band were unable to perform the King Crimson I requested but did play some Talking Heads as compensation. When I was a student I occasionally used to take a pair of cushioned over-ear headphones to discos (only if they were held at my hall of residence – I wouldn’t have wanted to lug them all over south London) which was done primarily to indicate my disapproval of the music but also to partially reduce the volume; putting in a pair of in-ear headphones at the Tobacco Dock party was rather pointless, such was the overwhelming din coming from the disco.


Turner's Old Star
Turner's Old Star

The little music I have managed to play for my personal pleasure in the past week includes King Crimson’s Red (1974). I’d seen a tweet about the album and made a mental note that it was something I should make a point of listening to again. Red was one of the Crimson LPs I’d sold to a second hand record store when I got a copy of the original issue of the CD, but that has been replaced with the mighty Road to Red box set. It was also one of the first Crimson albums I’d heard, a copy was owned by a friend from across the road in Infield Park in my youth. Along with the heavy prog of the title track and the soaring Starless which has gone on to inspire a host of other works with its killer melody line, Providence is a track which I found particularly inspiring; at the time of the album’s release I didn’t have a clue that this was a live improvisation, despite the rather truncated ending, but the structure formed the basis of a composition by my late school - early university group where, dependent on our rehearsal space, we would utilise found objects like bicycle wheels and door keys. I think Fallen Angel and One More Red Nightmare point the way to John Wetton’s future musical course but both are carried off with distinct aplomb and fit in with the feel of the entire album. The most recent version of Starless I’ve heard was by the David Cross Band at The Lexington earlier this year which rivalled the three drummers King Crimson version (Hackney Empire, September 8th 2015) in terms of excellence.


The Road to Red
The Road to Red

Next on my list was the debut self-titled album by Banco del Mutuo Soccorso (1972). Desperate to find some Banco, my first purchase was the sub-standard Donna Plautilla (released 1989) which I didn’t have on my list but it was the only Banco album available from a store in Treviso when I visited in 2005. Donna Plautilla is a compilation of pre-1972 material which doesn’t really fit the progressive Italiano tag, unlike the excellent first album. My current version of the album is a (2012) 40th anniversary 2CD edition where the second disc contains previously unreleased tracks Poilifonia, Tentazione and Padre Nostro and live versions of R.I.P, Metamorfosi and Traccia recorded in 2012.

The original album is one of the classics of the genre and, thanks to the vocals of Francesco Di Giacomo, truly operatic. I’d always associated the Banco sound with ELP because of the predominance of organ and piano, provided by the Nocenzi brothers Vittorio and Gianni respectively, but this time I was struck by the similarity to Jethro Tull’s Thick as a Brick, released in March 1972. There may not be very much flute on Banco del Mutuo Soccorso but the stop-start nature of the music, plus the organ/piano which also feature heavily in TAAB (one of the main reasons I really like that album) sound as though they could all have come from the same sessions. Tull were undoubtedly a major influence on the early Italian prog acts but it’s hard to imagine Banco having time to rearrange their material to sound more like Jethro Tull in the two months that elapsed between the availability of the two records.


Banco del Mutuo Soccorso 40th Anniversary edition
Banco del Mutuo Soccorso 40th Anniversary edition

Though I didn’t get much time to myself I did manage to squeeze in, over two days, the DVD of The Golden Compass (2007), the somewhat unsatisfying cinematic adaptation of Philip Pullman’s brilliant Northern Lights. I can’t work out if it was the characterisation which was off, despite thinking that Nicole Kidman might actually make a suitable Mrs Coulter, or if it was just Disneyfication, stripping away all the darkness and complexity of the novel. As with all fantasy books, the film version relied heavily on CGI, mostly successfully but sometimes less so. I found the stage version of the Pullman trilogy (His Dark Materials, an adaptation by Nicholas Wright) which had a couple of seasons at the National Theatre more in keeping with the original work despite the necessary condensing, with an ingenious depiction of the daemons. The arctic setting made it an appropriate season to watch the film but I hadn’t realised, until I was distracted and left the credits running, that Kate Bush sang her own composition Lyra at the end of the film. I must have been walking out of the cinema as this began playing and missed it but apparently it was a commission which utilises the Magdalen College choir, a nice Oxford-related fact, and it is a genuinely beautiful song.

My inability to enjoy Christmas is becoming hardened with every passing year but I see decorations and other Yule-related paraphernalia go on sale in October and, apart from a couple of recent Decembers when we had a healthy sprinkling of snow even in the south east, the country has been subjected to some record-breaking flooding. Isn’t it supposed to snow at Christmas? We all know about the chances for peace on earth... I may find it hard to find any decent music being broadcast at this time of year but it’s incomprehensible that a large proportion of the human race has an inability to even consider working together for the common good, whether it’s finding a meaningful accord on climate change, cancelling third-world debt, halting the civil war in Syria or ending violence against women.

Merry Christmas?









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