Download Generation and Prog

Today, the West gets its music online. There are many advantages to this situation, as music is now more accessible, more portable, and via both legal and illegal means, cheaper than ever. However, all these changes have put one negative effect into the Prog Rock relm, but many positive ones.

The losses Prog Rock takes from the download culture are easily apparent. Back in the vinyl days, bands could really take full advantage of the visual aspect of album products. It's impossible to get the same effect on CDs and 3- inch thumbnails as it was on four sleeves worth of cardboard that's nearly a square foot. Art was always a big avenue of creativity for the progsters, and this loss is pretty significant.

However, downloading gives a nice global perspective to Prog Rock. Back in the 70's, importing Krautrock, French Prog, or just about any non-English prog into the world outside of its parent country was rather difficult. While things did get around, it was on a much more limited basis than today. With the digital age, it is easy to discover old Italian prog bands just surfing iTunes, and at least until recently many of these were for discount prices. Globalization has proved a positive way to generate much greater quantities of word of mouth. Also, the digital file does not scratch and warp, so for such intricate music it is a far superior format to the vinyl record.

Count Felix Begs Flaming by Reviewing Asia

To the typical Prog Rock fan, the existence of the group Asia is a horror. When you've got such esteemed Prog Rock alumni in one place (Steve Howe, Carl Palmer, John Wetton, and Geoff Downes), one would be more than in their right to cringe at the result. Asia, sent to stores in 1982, ended up being a pop rock album, and shamelessly so? What happened?

Well, though the pressures of commercialization hit this "supergroup" (and many other classic prog groups in the 80's), you take what you can get. I'm not going to defend Asia, say it's comparable to Wish You Were Here or Thick as a Brick, nor will I say it's as enjoyable a piece of early 80's pop in the same way Thriller or Remain in Light. But its not that bad, all things considered. While "Only Time Will Tell" just eats at you with its pure levels of 80's cheese and insincerity, this same fist-pumping, arena rock vibe can be so bad its good on tracks like "Heat of the Moment" and "Sole Survivor". This does have a certain nostalgia to it, and while not so appealing to a prog rock fan, it's certainly decent pop music.

It seems to me the majority of this album's criticizim is about what it's not, and not for what it is. While I would have loved to see with turn into a prog rock album, it isn't, and it must be accepted. When I saw Yes in concert, Asia opened for them. Half the audience was there to see Asia, the other half Yes. Clearly, they were making a product for someone, that was well liked, and their opening act was nearly as good as Yes themselves (mostly due to Carl Palmer- the dude is incredible). I think it's in the best interest of the prog fans to leave Asia alone, and just not listen to it if so inclined.

Really, not that horrid. Even for a hardcore Prog fan like myself, it's still so bad it's good. Grade: C-.

Bill Bruford: The Autobiography

Another blog first: a book review. I just got done reading Bill Bruford's autobiography, published in 2009 as he was retiring from the stage.In 350 pages, Bruford muses over his story with typical English humor and numerous anecdotes.

Rather than being some sort of chronological tale, Bruford categorizes things by topic. Loosely. Each Chapter starts off with a F.A.Q., anf the sections of the chapter range from highly relevant to the question to mercilessly off topic. He also spends almost no time on Yes, with probably no more that 20 or 30 pages on the subject. Bruford instead opts to focus on King Crimson and his solo carrer in jazz. If anything, Bruford makes his life story out to be one of a slow musical growth from rock into jazz, the music that truly captivates him. Therefore, if you're just reading for stories about days of prog rock glory, you'll probably not find this a great read.

However, the book is not that. It is an excellent read. In its passages one gets to see the true mentality of a Prog Rock musician, what it quests for, and the end result. In the end of it all, Bill Bruford's journey led him to leave Yes because he felt he couldn't continue to grow as a musician there, leave King Crimson for the same reason, and retire at his peak. All throughout, Bruford is witty, approachable, and somewhat self depreciating. I'd have liked to read a bit more about the Prog Rock days, but this was an excellent on sight purchase at the book store. Grade: B+.

Jukebox #4

Focus- Moving Waves

Today we take a trip to the Netherlands, home of the much loved symphonic prog group Focus. Known for their excellent guitarist Jan Akkerman and highly eccentric keyboardist/flautist Thjis van Leer, Moving Waves , their second album, was released in 1971 (with the title of Focus II in their homeland). The album also features Pierre van der Linden on drums and Cyril Havermans on Bass. Focus was a primarly instrumental group, and did a pleathora of styles over the years, in fact, none of their albums really has the same feel.

The album kicks off with the well known track "Hocus Pocus", which features yodeling prominently and became a trans-Atlantic radio hit with its epic guitar sections and drum fills changing after every chorus. It's a chaotic mess. This is contrasted with the brief acoustic guitar work "Le Clochard" right after it. The album includes three other small songs on its A side: "Janis", "Moving Waves", and the second instalment of their self title series of songs. "Moving Waves is notable for featuring some rare vocals on a Focus record, but it's not super exiting, while the other two have nice flute work. The B side is dedicated solely to the 22 and a half minute "Eruption", which is a heavy handed work of music. The keyboards dominate this one, and it ultimatley can't hold interest beyond the 8 minute mark.

Though it's got some duds, Moving Waves has a lot to offer. Akkerman's guitar performances are exquisite. Grade: B

Pink Floyd- Atom Heart Monther

It is 1970. The Psychedelic age is closing out, and your band needs direction. Where to go? Pink Floyd took the route into Progressive Rock, and created Atom Heart Mother. Their first really entry into the genre, the album sits in a slightly awkward transition period, but manages to stay strong.

The album's A side is the 23 minute long title track. Though not the first epic in Prog Rock history, it truly shows the potential of the genre. The band, particularly Rick Wright, experiment with synthesizer sounds, use of orchestra, and long movements plastered seamlessly together. Using horns, shifting themes, rhythms, and chord structures, the piece covers many of the moods of Progressive rock. Fanfare? Has it. Guitar heroics? Has it. Solemn interlude? Has it. Though it has a lot of strengths, it does drag a little, the Floyd were not quite ready for the full side long slog. However, it also was the practice run for "Echoes" down the line, and is much better than its reputation. On side B, don't miss the quicker songs. Water's "If" is a sweet love song, Wright's "Summer '68" is a nice piece of prog-pop.

A nice piece in and of itself, and an indicator of a bright future. Grade: B+

How Broad Can Prog Be?

This past weekend, the University of Pennsylvania's radio station played a 24 hour Prog marathon. Everything was from between 1969 and 1979. I'd heard a great deal of it, but some stuff struck me as being off. There was music that I myself would describe as country, free jazz, and even pop without being particularly prog. Is there any semi-objective standard?

For example, drum Machines- Progressive Rock is all about technicality. Drum machines were available as early as the mid-70's in a primitive, extra noticeable form. Can we count music that does this sort of "lazy coping out" as Prog Rock? Or those Short Songs- Prog can be short. But can prog be short with a two verse, chorus, bridge, verse, chorus structure? Pop and Punk follow such patterns, and these things are what made Prog fade away. Therefore, isn't it a litlle bit contradictory to call this prog?

Progressive Rock is more than just a lable. It has a feel. Progressive rock can take the form of a jazz work, an electronic droning, a political satire, or a good old guitar workout, but it always has a certain feel. It's complex, but it's got a warmth to it, it wants to bring you into the magical worlds it creates. Somehow, just way to much prog-related material lacks that warmth. Even cannonical prog does this from time to time- Gentle Giant is a major culprit. I think there's a fine line, but in general, if a peice of music has that feel then it's prog.

I'm Back/ Jukebox #3

Hey everybody. I got a lot more swamped with my classes, extraciriculars, and college essays than I thought I would, but that's all done for the most part. Sorry for the lack of new life here, but I've got my time and motivation back. So, with the new year the Prog Blog will be back to its regular updating schedule.

Here's some Jukebox goodies from the Proto and Early Prog Era: