prog rock
EDGAR BROUGHTON BAND
The Edgar Broughton Band emerged out of the Blues based Underground Progressive Rock tradition in the late sixties and has been active virtually without break since 1968. Their first five albums are widely considered as seminal:
Wasa Wasa (1969)
Sing Brother Sing (1970)
Edgar Broughton Band (1971)
Inside Out (1972)
Oora (1973)
The original line-up had the creative driving force Edgar Broughton as lead singer and guitarist. Brother Steve Broughton played the drums and Arthur Grant was on the bass. Victor Unitt was part of the original line-up but left before the recording of the first two albums as the band moved away from Blues to Hard Rock. While The Edgar Broughton Band gained fame as one of the leading power trios of its day, Unitt did in fact return for the next two outings.
The band initially gained fame as perhaps the greatest live act of the era that saw them in their pomp, the late sixties and early to mid seventies. The band’s members moved from their native Warwick to Notting Hill in west London in 1969 and their peers tell two stories from those days with great affection. The Broughtons’ mother was the most famous van-driver of the era and the band continued the motoring theme by staging impromptu life gigs from the back of a flat-bed truck once notoriously stopping the traffic in Piccadilly.
A prodigiously talented band generally, and lead singer and guitarist Edgar Broughton himself in particular, it is something of a mystery why this relatively successful in their day Proto-Punk band are not more famous now. The two generally cited reasons are that the band was so talented in every department, and able to turn its hand to so many different styles, occasionally even during the same track, that it failed to mine an obvious niche. A second argument often proposed and one which has great merit is that The Edgar Broughton Band had such political integrity that the disillusion following the summer of love and the 1968 protests caused the group to implode, and perhaps more significantly rendered this anti-establishment hard-left socialist band without the commercial tools or desire to exploit their solid intelligent and informed fan base.
Musically there is little The Edgar Broughton Band recorded that fell short of first class. The first two albums “Wasa Wasa” and “Sing Brother Sing” are a splendid mix of timeless classics and excellent period pieces. On the third album the eponymous “The Edgar Broughton Band” known for reasons obvious to anyone who’s seen its cover as “The Meat Album” the band developed as close as they were ever to come to a homogenous commercially acceptable sound. Often listed as a fan and critic’s favourite, “The Edgar Broughton Band” shows off the band’s musicianship, with Edgar Broughton himself claiming that Dave Bedford’s arrangement on “Evening Over Rooftops” the most beautiful string accompaniment he’s ever heard.
“Inside Out” sees the band returning to cussed revolutionary intensity turning away from the materialist commercial temptations hinted at by its predecessor. Listed in my top twenty greatest albums of all time, “Inside Out” is as relevant now as it was in the early seventies. “Homes Fit For Heroes” has a particular resonance as we watch the returning heroes from Afghanistan, maimed, dead, and alive. John Lennon and David Bowie were just two of the band’s great admirers, and “Inside Out” has a freshness and a poignancy that few protest albums can claim as they enter their fifth decade.
Critically comparable to its two predecessors “Oora” suffers from having to follow the truly iconic “Inside Out” and tends to get overlooked. It does however contain my favourite EBB track of all, and one that will accompany me to my desert island should I ever be asked, “Green Lights”.
I challenge you to listen to “The Edgar Broughton Band” and “Inside Out” three times each and then argue you’re not in the presence of true genius.
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Edgar Broughton himself has continued with his socialist worker ethos by promoting his recent music with his fair day’s pay gigs at parties and in his fans’ homes. Have a look at the website www.edgarbroughton.com
© JD Shanks August 2011
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EMERSON LAKE & PALMER
This supergroup came together from a collection of flourishing bands to become one of the most successful major players in the world of Prog Rock. Keith Emerson had learned piano as a child and played in a number of bands prior to being in the backing band for American singer PP Arnold. The band quickly outgrew their backing duties and became a band in their own right, calling themselves The Nice. Along side Lee Jackson, Brian Davidson and Davy O’List, they became a popular live attraction and soon recorded their first, well-received album The "Thoughts Of Emerlist Davejack" in late 1967.Guitarist O’List left the band during the recording of the second album “Ars Longa Vita Brevis” After considering replacement guitarists, they decided to continue as a three piece – a forerunner of the future. Combining traces of jazz and classical elements within a rock structure, a further three albums were released with diminishing success before the band split up in 1970.
Greg Lake had been in a number of bands in and around his local area in the southwest of England, including The Gods, with future members of Uriah Heep. Following his departure from the Gods, he teamed up with old friend Robert Fripp as bass player in the newly formed King Crimson. As lead vocalist, co writer and co producer, Lake played a huge part in the success and influence of the bands stunning debut "In The Court Of The Crimson King". Following a US tour supporting The Nice on their farewell tour, Lake left Crimson to join Emerson in the formation of a new band pausing only to complete Crimsons second release, "In The Wake Of Posidon".
Carl Palmer played in a number of bands in his teenage years. His main influence in his early days was jazz drummers. Following a stint in Chris Farlow’s Thunderbirds, he was drafted into the Crazy World Of Arthur Brown to go on tour, when the original drummer, Drachen Theaker, was forced to leave the band due to a phobia of flying. The band pretty well disintegrated during the tour of the States and Palmer left with Keyboard player Vincent Crane to form Atomic Rooster. Palmer only stayed for one album, the self-titled release in early 1970.The music was similar in style and feel to the Crazy World, heavily dominated by organ, although by the time of Palmers departure, guitarist John Du Cann had joined and was influencing their sound.
Upon meeting Emerson and Lake, Palmer found an immediate connection and musical empathy and it was agreed they would form a band. Before finally agreeing on Palmer, Mitch Mitchell, the drummer with the Jimi Hendrix Experience, was approached. Rumour has it that after declining the invite he mentioned the aspirations of the others to Hendrix who was keen to experiment. A session was planned between the four but Hendrix died before this was finalised and the three decided to commence as a trio. Who knows what the outcome would have been had HELP ever formed?
Following some extensive rehearsals, the band made its debut in August 1970 and for their second gig, played at the giant Isle of Wight festival. Signed to Island Records, their first album was released in December 1970 and crowned a busy year. This self-titled debut was an intriguing affair. Despite effective contributions from L & P, the keyboards from Emerson dominate proceedings. Borrowing (unaccredited at the time) from a variety of classical pieces, and heavily influenced by complex jazz time signatures, the album takes some listening but rewards those brave enough to last the pace. The opening track, "The Barbarian", swirls with a mixture of keyboards, as does the powerful “Knife-edge” There had to be a drum solo and it duly appears in the turgid “Tank” Both “The Three Fates” and “Take A Pebble” showcase Emerson’s virtuosity but it is the last track, the melancholy “Lucky Man” that seals the success of the album. Added at the last minute at the request of the record label, this timeless ballad, written by Lake at a very early age, became a hit single release. The Moog synthesiser solo that closes the track illustrates the full potential of this unique instrument. In Emerson’s hands, this stunning noise truly sends shivers down the spine and perfectly celebrates the death of the lucky man of the title with its mournful, spectral sound. The release met with the approval of their increasing fans who sent it high into the charts on both sides of the Atlantic.
Dropping most of the restraint they showed on the first album, the follow up, released in June 1971, was a concept album. “Tarkus” told the story of a mythical, half mechanical armadillo type creature that battles other like creatures before being defeated by the Manticore! Taking up one side of the original album, the title track, references religion, war, and famine. It did not take long for the band to wander into pretension and over indulgence. Again expertly played, with Emerson’s keyboard wizardry to the fore, this time the spark of passion has gone and you are left with an emotionless, cold sound. The remaining tracks are mostly below standard, shorter tracks. Already a favourite at live shows “Tarkus” became a staple part of their theatrical performances for many years with the poor Tarkus itself blown up and restored countless times. The album hit the right note with old fans and won new recruits, sending it to the very top of the UK album chart for a week.
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Now established as a major live and recording act, the next release combined the two. “Pictures At An Exhibition” an interpretation of Mussorgsky’s original work was recorded live at the Newcastle City Hall and released in November 1971 as a budget set. Hugely successful hitting the top ten in both the UK and USA, it is a showpiece for all things keyboardy. Again you can only marvel at the musicianship but it rarely involves the listener and so many notes are crammed into the shortest space.
The third studio album “Trilogy” was put out in July 1972 and opened with the appropriately named “Endless Enigma” which reappeared a couple tracks later. Still incredibly popular and able to chart seemingly at will. The overindulgence had by now firmly taken hold. Most tracks sounded just like other ELP songs and only the obligatory novelty track “Hoedown” and another Lake ballad “From The Beginning” moved away from the norm.
After extensive touring in the States, “Brain Salad Surgery” was next up in November 1973. The first release on the bands newly formed Manticore label. Boasting a fantastic sleeve by Alien creator H.R.Giger there was some hope that the band would take some steps forward… Dominated by the half hour long "Karn Evil 9", pretty well every one of Emerson’s vast arrays of keyboards are played. “Karn” 1st Impression Part Two" is the most pleasing with some continuity and playful lyrics co written by Lake’s old Crimson cohort Pete Sinfield. An interesting version of the hymn “Jerusalem” opens proceedings and one of Lake’s hauntingly beautiful ballads “Still You Turn Me On” offers some variation with some nice guitar but apart from that, it’s the same old ELP. Technically brilliant but filled with their pomposity. This release is held in high esteem by fans and it has everything the ELP connoisseurs demand. To the outsider, it is relentless, almost painful.
And just when the hammering stopped, they released a TRIPLE live album to celebrate their extensive world tour. Recorded during 1973/74 and released in August 74 it contained the lot. The whole of the track “Tarkus” the whole (plus a bit) of “Karn Evil 9. “Take a Pebble” extended to 26 minutes and incorporating “Lucky Man” among others, a bit of King Crimson and a lot more of ELP. The audience loved it. As rock theatre it was unsurpassed. By now ELP could do no wrong “Welcome Back My Friends To The Show That Never Ends” (they weren’t kidding!) went top 5 in both the UK and the States.
Exhausted by the continual touring, they took a sabbatical, pursuing solo projects, and return to the studio after a three year break to record “Works” Vol 1". Taking its cue from Pink Floyd’s Ummagumma, this double album release gave one side to each member with the band combining on side four. This did not go down well with the fans that had waited a long time for a proper “ELP” release. Instead they got one side of a piano concerto. One side of acoustic ballads, one side of pseudo classical pieces plus a track featuring one of the Eagles and, finally, two tracks from the band. These tracks were among the best that ELP had produced. “Fanfare For The Common Man” a re working of a Copeland piece, was released in edited form as a single and gave the band a final single chart placing. And “Pirates” probably the most complete and realised track the band recorded. This tantalising glimpse of what the fans wanted was not enough to help the album sell and for the first time the band contemplated a lack of success.
Coupled with a vast change in the musical climate, the realisation that their time had been and gone hit the band hard. The same year they released “Works” Vol 2". This was almost an acceptance of defeat and was the most un ELP like album. Containing twelve tracks and none over five minutes this attempt, finally, at brevity was brave but pointless. Most of the tracks were leftovers from previous sessions and the quality variable. To fulfil contractual obligations, “Love Beach” recorded in the Bahamas and released in 1978 to critical ridicule was enough for the band to take the hint and they disbanded the following year.
Following brief excursions with other bands and solo projects, Emerson becoming involved with film scores, Palmer forming first PM and then another supergroup Asia and Lake producing a couple of solo works, Emerson and Lake formed another version of ELP this time with Cozy Powell on the drum stool. Just one album was released and the band toured. Ditching Lake, Emerson teamed up again with Palmer and Robert Berry to form the unsuccessful “3”
In 1991, the original ELP reformed. An album of all new material was released in 1992 and the band hit the tour trail again throughout 92/93 to support “Black Moon” The tour and the album proved to be moderately successful and encouraged the band to record a follow up, 1994’s “In The Hot Seat” and that was the last album release although the band did carry on touring right up to 1998.
Keith Emerson continues to score for films with notable success. He has also released many solo albums and tours to small venues at regular intervals. He reformed The Nice in 2003 for a short tour.
Greg Lake has played with Ringo Starr and The Who and tours infrequently as the Greg Lake Band
Carl Palmer achieved huge success with Asia, has released some solo albums and gives drum clinics all over the world.
ELP were a band of their times. Indulged to be pretentious with little self discipline they never the less achieved tremendous commercial acclaim selling around 40 million albums. While later albums showed a lack of restraint, their debut contained many moments of inspiration and classic prog. Their musicianship was never in doubt but their music rarely stimulated the emotions after that first release. They became targets for the Punk/New wave movement and were easy targets, held up to be the worse that “old rock” offered. As critics jumped ship and embraced the new sounds, ELP were left high and dry, held up to ridicule with their Persian carpets, two ton drum kits, revolving keyboards and convoys of trucks, they didn’t help themselves! They became completely out of step with the musical times and were swept away by the spiky haired, plastic clad army that were encouraged to hate them. In this time of financial restraint and environmental issues it is unlikely we will see their like too much in the future.
Roger Gibbens
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Greg Lake
King Crimson
Uriah Heep
The Nice
In The Court Of Robert Fripp
Flaming Youth
After a couple of false starts and name changes, Flaming Youth were formed in 1969. Included in the line up was drummer Phil Collins (drums/vocals), Ronnie Caryl (guitar/vocals), Brian Chatton (keyboards/vocals), (Flash) Gordon Smith (guitar/vocals).
Signed to Fontana Records, they worked with renowned songwriters Howard and Blaikley who wrote and produced their only album "ARK2" The album told the story of a second flood and , no surprise, a second ark. With Howard and Blaikley's pop background (they wrote and arranged songs for, The Herd, Dave Dee, Dozy. etc. and many others) the songs were a little lightweight but well played. The album is a wild collection of styles and influences ranging from sunshine pop to heavily orchestrated, over produced prog that shows a band in the early stages of a career perhaps being pushed in directions they were never entirely comfortable with.
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Despite some encouraging reviews in the music press, the album was voted "Rock Album Of The Year 1969" by the Sunday Times, and the release of the album in a fantastic triple gate fold sleeve, their career stalled.After the flop of their third single, both Collins and Caryl auditioned for Genesis. Collins, of course, was successful and the band split.
The album is now rare in its original form and is very collectable.
Brian Chatton would later play in Jackson Heights and with a number of other bands in the 1980's.
Ronnie Caryl has toured with Phil Collins as part of his solo band and has released a number of albums. Gordon Smith went to Europe and continued with his music career.
The track here is the first track from the album and was also released as the first single. It is probably the strongest track.
Roger Gibbens
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Genesis
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King Crimson By Roger Gibbens
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Genesis
Formed in 1967 from two Charterhouse Public School bands (The Anon and Garden Wall), they recorded some rough demos and sent these to performer and producer Jonathan King, himself a former Charterhouse schoolboy.
King took the band under his wing and arranged for them to be signed to Decca. He gave them the Genesis name and recorded a couple of singles from the demos, which were released in 1968. Although both decent stabs at flower power pop, they sank without trace. With the lack of commercial success, Chris Stewart left the band to continue his education. (He later had success of his own with a number of best selling books about his life in Spain). His place behind the drum kit was taken by John Silver.
Despite the commercial failure of the singles, King booked some studio time during the bands summer holidays to record a full album. Released in 1969, " From Genesis To Revelation" is a keyboard heavy debut with lush orchestration. It was an ambitious attempt and very much influenced by the psychedelic pop so popular at this time. How much input the band had in its conception is, however, debatable. It is known that the band deliberately wrote songs in the style of one of Kings favourite bands, The Bee Gees, to ensure his continued support. The most obvious reference point is The Moody Blues with echoes of early Pink Floyd. What is clear however, is Gabriel’s voice. Bearing in mind they were schoolboys, his voice was instantly recognisable, strong and assured. As a debut, it stood up remarkably well with a number of potential “hits”. Had Decca not lost interest in the band, who knows?
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After the commercial failure of the album (rumours have it that it sold just a few hundred copies), the band decamped to a cottage to write and rehearse. Now released from their contract with Decca, they were free to take their time to find their own sound. By now John Silver had left and John Mayhew became yet another of the band’s drummers. The result was a much more confident group who were quickly picked up by a new label, Charisma. The first album for the new label was "Trespass" (1970). Although a somewhat patchy affair, it contained some of the elements that would later become trademarks, particularly the standout last track "The Knife", which soon became a firm live favourite for many years. Having to tour the album did not suit Phillips who suffered from stage fright so he left, along with -surprise surprise - the drummer. Their replacements, Steve Hackett and Phil Collins joined to become what many people believe to be the classic Genesis line up.
The next album, released in 1971, "Nursery Cryme", was a big step forward and established the Genesis sound with tracks like "The Return Of The Giant Hogweed" and another long lasting live favourite, "Musical Box" However, once again the album failed to sell in large quantities. Their live shows were gaining much media attention, most notably for Gabriel’s many and varied costume changes and surreal song intros. They were building up an ever growing and loyal following. The big breakthrough came the following year with the release of "Foxtrot". Their first chart album, it reached the dizzy heights of number 12. Music and performance came together brilliantly. A virtuoso group performance, each track allowed members the opportunity to showcase their considerable musical ability. Once again Gabriel was the centre point for the live shows. The massive 24 minute long "Supper’s Ready" closed most of their performances and climaxed with him changing into a flying angel after a giant thunder flash. Now under the management of label boss Tony Stratton-Smith, they were ready to have a crack at the States and toured in late 1973. Always popular on the continent, sell out tours around Europe followed and a live album was released which made the UK Top 10 and just crept into the US Top 100. Despite the busy schedule, they found time to record the next album "Selling England By The Pound", which gave the band their highest chart placing in both the UK and US so far. Perhaps lyrically inferior to "Foxtrot", musically the band were on a spectacular high. The album is notable for producing Genesis first chart single, "I Know What I Like", and for having one track with vocals from Phil Collins - a sign of things to come! After years of hard work, their popularity was sealed and with the next album, super stardom was awaiting.
This album was the 1974 release, "The Lamb Lies Down On Broadway". A double concept album it told the tale of Rael and his journey to find freedom and identity. A collection of shorter songs joined by lengthy instrumentals, it was the arch typical prog rock album and showcased the band at its musical peak. The shorter tracks resulted in a couple of well-received singles ("Counting Out Time" and "Carpet Crawlers") and a couple of tracks produced by Brian Eno. The stage shows for the world tour were spectacular with innovative lighting and many set and costume changes. After performing the show over 100 times and seemingly on a steady upward path to even greater success, the bombshell came in mid 1975. Gabriel was unhappy with the band and left for “personal reasons”. To most this marked the end of the group. After all, wasn’t Gabriel the vocal, visual and spiritual centre of the band? If the remaining members thought this, it must have been only briefly for pretty soon they were auditioning for a new vocalist (rumour has it that nearly 400 hopefuls were tried out). No one proved satisfactory and drummer Phil Collins took over as lead vocalist.
To ensure they maintained as much momentum as possible, two albums were quickly released in 1976. Remarkably, they proved to be their most successful yet. "Trick Of The Tail" went to number 3 and "Wind and Wuthering" number 7 in the UK, while both reached the US top 30. The decision to have Collins as lead singer proved to be inspired. They continued touring to sell-out crowds with Bill Bruford then Chester Thompson taking the drum seats while Collins carried out his vocal duties. After the recording of the live album with this line up, "Seconds Out" in 1977, guitarist Steve Hackett decided to leave to concentrate on his thriving solo career. Flushed with the success of the last time this happened, once again the band looked to within to fill the gap. Up stepped Mike Rutherford to play lead in addition to his role as bass guitarist. This prompted the title of the 1978 release "And Then There Were Three". Astonishingly, the smaller the band the bigger the success. The hits kept on coming. "And Then There Were Three" went top three while the next 4 albums, "Duke" in 1980, "Abacab" in 1981, "Genesis" in 1983 and "Invisible Touch" in 1986, all went to the top of the UK charts and top 10 in the States. Another live album, released in 1982, "Three Sides Live", reached no 2 in the UK. For a band that started out bathed in psychedelia they became the very definition of Prog Rock. Their success with singles is remarkable, with in excess of 15 top twenty hits in the UK, and many more in the US. They continued to tour the world using session musicians to bolster live performances and were established as one of the world’s top bands.
With all group members involved in non-Genesis work, it would be a whole five years before a new Genesis album was released. "We Can't Dance" continued the success; topping both the UK and US charts and featuring 5 hit singles.
In 1996 Phil Collins announced he too would be leaving the band. The most successful of the band as a solo performer, he would now be concentrating on his solo work and various film projects. It was also reported that he was suffering with hearing problems and would be reluctant to tour.
Surprisingly, Banks and Rutherford continued as Genesis. The old trick of doing it all themselves would not work this time and after a long search to recruit a new vocalist, they decided on Ray Wilson, the ex lead singer of Stiltskin. They recorded just one album with this line up, the 1997 release "Calling All Stations". Successful in Europe but not in the all-important American market, they were forced to cancel a planned tour of the States. Wilson was sacked shortly after and the whole band operation went on hold.
In 1999 the “classic” line up reunited to record a new version of "Carpet Crawler" for inclusion on the "Turn It On Again - Hits" compilation. This prompted much speculation over the band reforming and continued until 2007 when Banks, Rutherford and Collins surprisingly announced a new tour. This was hoped to have been a full reunion but neither Gabriel nor Hackett was able to commit to the dates and in June 2007 just the three, along with live show regulars Daryl Stuermer and Chester Thompson commenced the Turn It On Again world tour. This took in over 50 arena-sized dates and inevitably saw the release of yet another live album with DVD.
It is unlikely any new material will be recorded and that’s how it is left with Genesis. In every interview the three are always asked if a full reunion of the classic line up will ever happen. The answer is always, “Never say never”, and this is why you will always see old Genesis fans with their fingers crossed.
Genesis was a strange band. Despite a privileged start and a lot of early luck, they never seemed to be resented or hated by their peers, public or press unlike many other bands of their type. The legacy they leave behind is of a overtly British band conveying eccentricity and weirdness. Their early work remains a lasting example of all that was good about Prog Rock. The later period shows that even sitting at Rock’s top table, they were never afraid to take a chance or two and were comfortably at home as either an album or singles band.
If we have seen the last of Genesis, we should celebrate their success. They are one of the top 30 selling bands of all time. The works individuals have produced outside the band have also been outstanding. Peter Gabriel remains a highly respected artist after releasing a number of successful albums, singles and influential videos. While his stage shows are as ambitious as ever. He is the founder of the WOMAD world music festival. Mike Rutherford formed Mike And The Mechanics in 1985 to great success having hit albums and singles including the poignant "Living Years". Tony Banks has composed much music for films and TV and continues to release solo recordings. His value to Genesis has probably been underrated over the years. Steve Hackett has released dozens of solo albums, formed the prog rock super-group GTR and is cited as an influence to many guitarists such as Brian May and Eddie Van Halen. And Phil Collins, the most successful of them all, as singer, songwriter, actor, film theme song composer etc. etc. With many hit singles and albums all over the world, he is one of the biggest artists on the planet.
We should celebrate their uniqueness and remember them with affection.
Roger Gibbens
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KING CRIMSON
In 1967, two brothers, Michael and Peter Giles auditioned guitarist Robert Fripp to join their band. Despite wanting to recruit a singer/keyboard player, Fripp was asked to join. Following the unsuccessful release of a couple of singles and an album, they added multi-instrumentalist Ian McDonald to the line up to enhance the sound.
Fripp, by now frustrated with the lack of success and the overall sound, suggested adding his friend Greg Lake to the band to replace the equally frustrated Peter Giles. In turn, McDonald brought in his friend, Pete Sinfield to help out with lights, and lyrics. Starting rehearsals in early 1969, Sinfield christened the band "King Crimson" who made their live debut in April that year. By now a mellotron had been added to McDonald’s keyboard set up and this sound would become the most recognisable sound in the burgeoning Progrock movement of which the band would play a huge part in establishing. Following a high profile gig supporting the Rolling Stones at Hyde Park, the debut album was released in October 1969. Receiving huge acclaim, “In The Court Of The Crimson King” proved to be a masterpiece. From the striking cover artwork to the highly imaginative,informed and experimental music, it was performed with a precision and intensity that would result in the boundaries of rock music forever being redrawn. The first track, the brutal “21st Century Schizoid Man” set the scene with its doomy effect-laden vocals and jazzy time signatures. Following this were two mellow almost ambient tracks but it is the final two that established the sound of the band. Both Epitaph and In The Court Of The Crimson King employed heavy use of the mellotron and contained surreal lyrics. Amazingly for a debut release, the album entered the chart at number 5 as it took its place among the rock elite. Following a successful introduction to the States, tensions that would follow the band throughout their career surfaced and the first classic King Crimson line up split in December 1969. Leaving just Fripp and Sinfield to fly the flag, the early momentum was lost and the level of success would never be achieved again.
In The Court Of The Crimson King
Fripp and Sinfield rallied the troops to record the follow up album. “In The Wake Of Poseidon” It met with a mixed reception. General opion was that it was a pale copy of the first. One track however was different. “Catfood” with its jazz piano, courtesy of Keith Tippett, was an indication of a new direction. After recruiting new members Gordon Haskell, Mel Collins and Andy McCulloch and with Sinfield now playing synthesisers, the third album, “Lizard” was recorded in 1970. This was the most inaccessible release to date containing some of Sinfield's more obtuse words and featuring a selection of jazz musicians. The recurring theme of band members leaving continued and for the next album, Islands where Boz Burrell and Ian Wallace replaced Haskell and McCulloch. Despite all the comings and goings, “Islands” was a gorgeous album. Softer and more structured it contained more restrained playing from the invited jazz musicians. However a growing distance appeared between Fripp and Sinfield over this period and eventually ended with Fripp giving Sinfield the call to leave the band after the release of “Islands” Fripp then began recruiting for replacements for his next vision of Crimson. Radically different now, John Wetton (bass), Bill Bruford, (drums), David Cross (Violin) and Jamie Muir (percussion) joined Fripp in the latest line up. With no one else left from the original band, this was the opportunity that Fripp wanted to escape from the clutches of the first album. “Larks Tongue In Aspic” in 1973 and “Starless And Bible Black” the following year, seemed to put the band back on track. Both reached the top 30 in the UK and contained strong songs littered with melodies but with enough experimentation to satisfy their cult following. While live, the band bombarded the audience with a metal like assault. This was too much for David Cross whose violin was lost in the noise and for Jamie Muir who left. (to join a Tibetan monastery it was rumoured!).
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Fripp was by now having his own spiritual crisis and split the band “completely and for ever and ever” in September 1975. He relocated to New York where his work with artists such as Peter Gabriel, David Bowie, Talking Heads and Blondie gained him much respect from the mainstream. Now heavily into electronics, he developed his “Frippertronics” tape loop system with Brian Eno that would be used in various forms on all future work. Solo albums followed, usually including a wide selection of guest artists from the above list. Some short-lived bands were formed and split. In 1981 he formed “Disipline” with Tony Levin, Adrian Belew and old mate Bill Bruford. In October that year, searching for some commercial success on his own, he decided to rename the band “King Crimson” With second guitarist Belew in the mix, Fripp was able to concentrate on a new sound for Crimson. Using all manner of electronics they were producing truly progressive music. Disappointingly for some, however, the mighty mellotron had been put out to grass. The band released three albums with this line up, “Discipline” in 1981, “Beat” in 1982 and “Three Of A Perfect Pair” in 1984. All were well received with tightly constructed sounds with modern new wave and post punk influences. By the time of the third album however, tensions had appeared and this resulted in one side of the album having a lighter, poppier feel, while the other was more extreme at Fripp’s insistence. Consequently the band broke up and it would be a further 10 years before the name of King Crimson would be heard again. Fripp get himself busy during this period forming a number of short-term bands and contributing his original sounds to a number of recordings. He also started a guitar school and formed his own record label, DMG which would result in a number of rare recordings being released in future years.
Following encouragement from Belew, Fripp decided to reassemble the band as King Crimson in 1994. The line-up consisted of Fripp, Belew, Trey Gunn, Tony Levin, Pat Maslelotto, and once again Bill Bruford. Running the band as “Two Trios” the band released “Thrak” in 1995.which contained some incendiary twin guitar and masses of electronics, which had now progressed, from “Frippertronics” to “Soundscapes” to keep up with the digital age. The six-piece band proved to be awkward to manage so Fripp split the band into smaller units. These he called “ProjeKcts”. This enabled the band to work on various compositions before bringing them to the main band. Bruford became unhappy with this set up and left for the last time. From here onwards, with regular long gaps between albums and tours, the band has continued. Tapping into industrial metal and sonic ambience the band still push the boundaries.
King Crimson has been at the forefront of “Progressive Music” for 40 years. Never afraid to take risks they have gone their own way and poked out their tongues at the music industry. Many past members have gone on to huge success in other bands such as ELP. Bad Company, Foreigner and Asia. Many contemporary bands have cited King Crimson as a major influence.
When things became comfortable, Fripp would split the band or head off on a musical tangent that would alienate and exasperate both fans and label chiefs. But this is what their long-suffering fans want. Never predicable, the legacy they leave will ensure the King will reign for a long long time.
Roger Gibbens
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YES
Jon Anderson (vocals), Chris Squire (bass, vocals), Peter Banks (guitar, vocals), Tony Kaye (keyboards) and Bill Bruford (drums) formed Yes in 1968, going on to create some of the most innovative progressive rock music of their generation, pioneering the use of synthesizers and sound effects. Albums included "Roundabout," ‘Relayer,” "Close To the Edge," and "Awaken", using fantastic graphic images on their album covers by Roger Dean. By this time Steve Howe and Rick Wakeman were full members.
In the 1980s, Yes continued to experiment with digital technology producing in particular "Owner Of A Lonely Heart" and "Rhythm Of Love" and indeed pushed at the boundaries of rock through the following years and even set up their own record label, Yessongs.
Yes specialized in grandiose works, complex and often symphonic in style. "Tales from Topographic Oceans" for example consists entirely of four twenty minute pieces, in fact many would question whether they could be classed as rock at all.
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As is the way, the band split after numerous member changes, although has had a few reincarnations over the years and has recently reformed, however, replacing a somewhat surprised Jon Anderson with Benoit David from a Yes tribute band (it just shows there’s always hope!).
Original members include Jon Anderson (born October 25, 1944, in Lancashire, England; left group, 1980, rejoined, early 1980s, left, late 1980s, performed with Anderson, Bruford, Wakeman, and Howe [ABWH], beginning in 1989, and with Yes, 1991), vocals; Peter Banks (left group, 1969), guitar; Bill Bruford (born May 17, 1948, in London, England; left group, 1972, performed with ABWA, beginning in 1989, and with Yes, 1991), drums; Tony Kaye (left group, 1969, rejoined, 1982), keyboards; and Chris Squire (born March 4, 1948, in London), bass.
Later members include Geoff Downes (joined group, 1980, left, early 1980s), keyboards; Trevor Horn (joined group, 1980, left, early 1980s), vocals; Steve Howe (born April 8, 1947, in London; joined group, 1969, left c. 1981, performed with ABWH, beginning in 1989, and with Yes, 1991), guitar; Patrick Moraz (born June 24, 1948, in Morges, Switzerland; joined group, 1973, left, 1976), keyboards; Trevor Rabin (joined group c. 1981), guitar, Rick Wakeman (born May 18, 1949; joined group, 1971, left, 1973, rejoined, 1976, left c. 1979, performed with ABWH, beginning in 1989, and with Yes, 1991), keyboards; Alan White (born June 14, 1949, in Durham, England; joined group, 1972), drums.
Group formed in London, England, 1968; released first album, Yes, on Atlantic Records, 1969.
Awards: Five gold albums; two platinum albums.
Addresses: Record company—Atco, 1290 6th Ave., New York, NY 10104.
Albums: (all albums produced by Atlantic unless noted)
Time and a Word, 1970.
The Yes Album, 1971.
Fragile, 1971.
Close to the Edge, 1972.
Tales from Topographic Oceans, 1973.
Relayer, 1974.
Going for the One, 1977.
Tormato, 1978.
Drama, 1980.
90125, Atco, 1983.
Big Generator, Atco, 1987.
Union, Arista, 1991.
Talk, Victory, 1994.
Keys to Ascension 2, Essential Records, 1997.
Open Your Eyes, Eagle Records (UK) and Beyond Music (US), 1997.
The Ladder, Eagle Records (U.K.) and Beyond Music (U.S.), 1999.
Magnification, Eagle Records (U.K.) and Beyond Music (U.S.), 2001.
Fly from Here, Frontiers Records (Europe, U.S.) and Avalon (Japan), 2011.
Source: Simon Glickman
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Cardiacs
The Cardiacs are an English band who were formed by Tim Smith in 1976. They combined the attitudes of early punk music with progressive rock, creating a sound often dubbed as ‘Pronk’. Vocalist and songwriter Smith enlisted his brother Jim to play bass in the band, along with Peter Tagg on drums and Mick Pugh on vocals.
They began their career with the bizarre band name ‘Philip Pilf And The Filth’, which although seems strange, seems fitting towards the bands image and sound. The name was soon switched to Cardiac Arrest, and Colvin Myers joined to play keyboard for the band’s first single ‘A Bus For A Bus On The Bus’, which was released in 1979. An album shortly followed, named ‘The Obvious Identity’. In the same year, Mark Cawthra replaced Tagg, who went on to form the Trudy. His departure was followed by that of Pugh and Myers.
The Cardiacs, as they were now known, strived to go against the conventional recording methods, releasing a string of cassette-only albums, of which they self released throughout the 80’s – including classic ‘Toy World’ in 1981.There were many line-up changes, but as of 1983 this stayed stable for six years, and the musicians created an insane on-stage routine, full of odd-ball performances and theatrical elements.
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By 1988, the band began to tackle something they were somewhat alien to, the mainstream. They released the LP A Little Man and a House and the Whole World Window, which proved to be their biggest success, spawning the Top Ten UK hit "Is This a Life."
At the end of 2008, Tim Smith suffered quite ironically, from a cardiac arrest. He is recovering slowly, but it is unclear as to whether The Cardiacs, with their shaken up line-up, will tour again. Here’s hoping!
Carly Page
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com
