20 November 2012: Thick as a Brick I and II

Thick as a Brick

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Thick as a Brick
Studio album by Jethro Tull
Released	10 March 1972
Recorded	December 1971 at Morgan Studios, London
Genre	Progressive rock, art rock, hard rock[1], folk rock
Length	43:46
Label	Chrysalis , Reprise
Producer	Ian Anderson
Jethro Tull chronology
Aqualung (1971) Thick as a Brick (1972) Living in the Past (1972)
Alternative cover
The cover of the 1997 25th anniversary re-release. Note the vertically elongated front page image and the completely different leftmost panel.

Professional ratings
Review scores
Source	Rating
Allmusic	[2]
Robert Christgau	C− [3]
Rolling Stone	[4]
George Starostin	[5]

Thick as a Brick is the fifth studio album by the English progressive rock band Jethro Tull. Released in 1972, the album includes only one song, the title track, which spans the entire album. Thick as a Brick was deliberately crafted in the style (and as a "bombastic" and "over the top" parody^[6]) of a concept album. The original packaging, designed like a newspaper, claims the album to be a musical adaptation of an epic poem by a (fictional) 8-year-old boy, though the lyrics were actually written by the band's frontman, Ian Anderson.

Contents 1 Album information 2 Live performances 3 Cover art and packaging 4 Track listing 4.1 Differences among various CD releases 5 In pop culture 6 The 2012 follow-up: Thick as a Brick 2: Whatever Happened to Gerald Bostock? 7 Chart positions of the original 1972 album 8 Artists 9 References 10 External links

Album information

Thick as a Brick was Jethro Tull's first deep progressive rock offering, coming four years after the release of their first album. The epic album is notable for its many musical themes, time signature changes and tempo shifts--all of which were features of the progressive rock scene which was emerging at the time. In addition, the instrumentation includes harpsichord, xylophone, timpani, violin, lute, trumpet, saxophone, and a string section--all uncommon in blues-based rock.
Band leader Ian Anderson was surprised by the critical reaction to the previous album, Aqualung, as a "concept album", a label he firmly rejects to this day. In an interview on In the Studio with Redbeard (which spotlighted Thick as a Brick), Anderson's response to the critics was: "If the critics want a concept album we'll give the mother of all concept albums and we'll make it so bombastic and so over the top."^[6] Ian Anderson has been quoted as stating that Thick as a Brick was written "because everyone was saying we were a progressive rock band, so we decided to live up to the reputation and write a progressive album, but done as a parody of the genre." With Thick as a Brick, the band created an album deliberately integrated around one concept: a poem by an intelligent English boy (named Gerald) about the trials of growing up. Beyond this, the album was a send-up of all pretentious "concept albums". (The simile "Thick as a brick", in English, is an expression signifying someone who is "stupid; slow to learn or understand".^[7])
Anderson also stated in that interview that "the album was a spoof to the albums of Yes and Emerson, Lake & Palmer, much like what the movie Airplane! had been to Airport." The formula was successful, and the album reached number one on the charts in the United States.
On April 3, 2012, Ian Anderson released a long-delayed sequel, Thick As a Brick 2, on the EMI label, continuing the story of Gerald Bostock. The original in a deluxe CD/DVD edition with a large book will be reissued by EMI on November 6, 2012.

Live performances

Beginning in March 1972, the band performed most of the album (excluding some of the edits on side 2) on tour for nearly a year. The performances grew in length to about 90 minutes, as the original piece was expanded with additional instrumental interludes and the instrumentals "God Rest Ye Merry Gentlemen" and "Bouree." At the conclusion of what was side one of the LP, a 5-minute "news and weather" comedy routine was inserted, giving the band (and audience) a break from the non-stop music. At concerts in Germany and Italy, the routine was presented in the native language. The performance of side two of the LP was expanded with the addition of a long drum solo. The remainder of the set list (with occasional changes throughout the tour) consisted of "Cross-Eyed Mary", "A New Day Yesterday", "Aqualung", "Wind-Up", "Martin's Guitar Solo", "Locomotive Breath" and "Wind-Up (Reprise)." "Wind-up" included an unreleased piece referred to by bootleg fans as "The Hard Headed English General". Later live performances of "Thick as a Brick" were a shortened version of the first side, as heard on the live album Bursting Out (1978).
Ian Anderson performed the entire album live on tour in 2012, the first complete performances since the 1972 tour.^[8]

Cover art and packaging

The original LP cover, which opens up as a 12-page newspaper.

The original LP cover was designed as a spoof of a 12-by-16 inch (305 by 406 mm) multiple-paged small-town English newspaper, entitled The St. Cleve Chronicle and Linwell Advertiser, with articles, competitions, adverts, etc., lampooning the parochial and amateurish local journalism that still exists in many places today, as well as certain classical album covers. Jethro Tull's official website states about the mock-newspaper: "There are a lot of inside puns, cleverly hidden continuing jokes (such as the experimental non-rabbit), a surprisingly frank review of the album itself [written by Anderson under a pseudonym], and even a little naughty connect-the-dots children's activity."^[9] The "newspaper", dated 7 January 1972, also includes the entire lyrics to "Thick as a Brick" (printed on page 7), which is presented as a poem written by an 8-year-old literary prodigy, Gerald "Little Milton" Bostock, whose disqualification from a poetry contest is the focus of the front page story. This article claims that although Bostock initially won the contest with "Thick as a Brick," the judges' decision was repealed after a multitude of protests and threats concerning the offensive nature of the poem, furthered by allegations of the boy's psychological instability. Throughout the newspaper's many articles are subtly scattered various references to the lyrics, to Gerald Bostock, to Jethro Tull, and to other peculiar parts of the newspaper itself. The satirical newspaper was heavily abridged for conventional CD booklets, but the 25th Anniversary Special Edition CD cover is much closer to the original, and the 40th anniversary boxed version contains a nearly-complete replica of the original newspaper, missing only an article spoofing former U.S. Tull distributor Reprise Records.

Track listing

All lyrics written by "Gerald Bostock" (Ian Anderson), all music composed by Ian Anderson.

Side one
No.	Title	Length
1.	"Thick as a Brick, Part I"	22:40

Side two
No.	Title	Length
2.	"Thick as a Brick, Part II"	21:06

25th Anniversary Edition bonus tracks
No.	Title	Length
3.	"Thick as a Brick" (1978 live version at Madison Square Garden)	10:50
4.	"Interview with Jethro Tull" (Ian Anderson, Martin Barre and Jeffrey Hammond-Hammond)	16:30

40th Anniversary Edition bonus track
No.	Title	Length
3.	"1972 Radio Ad"	0:59

Differences among various CD releases

By 2012 the album received four major releases on CD: the first release (1985),^[10] the MFSL-release (1989),^[10] the 25th Anniversary Edition (1997), and the 40th Anniversary Edition (2012). Whereas the first release and the MFSL-release run with identical speed, the 25th Anniversary edition runs 0.5% slower^{[citation needed]}. The 1997 edition also has increased loudness (see Loudness war) and does not feature Ian Anderson whispering "Yeah" after the coda of Part II.
The 40th Anniversary Edition was released in November 2012, and includes a CD, a DVD, and a book. The CD contains a new mix of the album. The DVD contains a 5.1 surround sound mix (in DTS and Dolby Digital), the new stereo mix in high resolution, and the original stereo mix in high resolution. The album was also rereleased on vinyl at the same time.^[11] This edition lists part one at 22:45 and part two at 21:07.
The website for the 40th anniversary edition lists these digital parts:

1. Really Don't Mind/See There a Son Is Born
2. The Poet and the Painter
3. What Do You Do When the Old Man's Gone?/From the Upper Class
4. You Curl Your Toes in Fun/Childhood Heroes/Stabs Instrumental
5. See There a Man Is Born/Clear White Circles
6. Legends and Believe in the Day
7. Tales of Your Life
8. Childhood Heroes Reprise.^[12]

In pop culture

The song itself has been played on many classic rock radio stations across the globe. Most opt to play the single edit, clocking in at approximately three minutes. However, some prefer the longer 7-minute version which contains the Side One main theme, "Come On Ye Childhood Heroes", and the closing theme from Side Two.
In 1983, Chrisye released a cassette called Resesi (Recession) which had a cover inspired by the album. The album was rereleased on CD in 2004.
At the end of the The Simpsons episode "Girls Just Want to Have Sums", Martin Prince sings "Thick as a Brick" until Lisa Simpson hits him with a folding chair to shut him up. The actual song plays over the closing credits.
Car maker Hyundai used the song in one of their commercials in the early 2000s.

The 2012 follow-up: Thick as a Brick 2: Whatever Happened to Gerald Bostock?

On 1 February 2012 Ian Anderson announced via the official Jethro Tull website that there was to be a follow-up album, TAAB2: Whatever Happened To Gerald Bostock?. According to the Jethro Tull website, the sequel is "a full length Progressive Rock 'concept' album worthy of its predecessor. Boy to man and beyond, it looks at what might have befallen the child poet Gerald Bostock in later life. Or, perhaps, any of us."
The album was released on 2 April 2012. It describes five different scenarios of Gerald Bostock's life, where he potentially becomes a greedy investment banker, a homeless homosexual man, a soldier in the Afghan War, a sanctimonious evangelist preacher, and a most ordinary man who runs a corner store and is married and childless. The original Thick as a Brick consists of only two long tracks comprising a single song, while TAAB2: Whatever Happened To Gerald Bostock? lists 17 separate songs merged into 13 distinct tracks (some labelled as medleys), although also all flowing together much like a single song. To follow the style of the mock newspaper on the original Thick as a Brick, a mock online newspaper was set up, simply titled StCleve.

Chart positions of the original 1972 album

Year	Chart	Position
1972	Billboard 200	1
	Australian Kent Music Report Albums Chart

Artists

• Ian Anderson – lead vocals, acoustic guitar, flute, violin, trumpet, saxophone
• Martin Barre – electric guitar, lute
• John Evan – piano, organ, harpsichord
• Jeffrey Hammond (as "Jeffrey Hammond-Hammond"): Bass guitar, Vocals
• Barriemore Barlow – drums, percussion, timpani
• David Palmer – Brass and string arrangements

References

1. ^ http://www.allmusic.com/album/r174955 link
2. ^ http://www.allmusic.com/album/r174955
3. ^ Robert Christgau: CG: jethro tull
4. ^ Jethro Tull Press: Rolling Stone, 22 June 1972
5. ^ Starostin, George. "Thick as a Brick review". http://starling.rinet.ru/music/index.htm (Only Solitaire: George Starostin's Music Reviews).
6. ^ ^{a b} "Acoustic Guitar Central - An interview with Ian Anderson". Retrieved 15 August 2009.
7. ^ "Thick as a brick" in Wikictionary
8. ^ ""Thick as a Brick" Played in Special 2012 Tour".
9. ^ Thick as a Brick - The Official Jethro Tull Website
10. ^ ^{a b} Core albums 1968 - 1977
11. ^ Official website
12. ^ 40th Anniversary website, track listing

External links

• Thick as a Brick (1972) at Allmusic
• Thick as a Brick (1998) at Allmusic (UK)
• Complete lyrics
• Jethro Tull, Progressive Rock and Thematic Approach, essay by Dave Morris
• Scans of the pages of the LP cover mock newspaper

13 November 2012: An Evening of Steven Wilson

Get All You Deserve recorded live in Mexico City, April 2012

29 November 2011: DiN20 - Sampler iNDEX02 - Ian Body et al

11 October 2011: Symphonic Prog from Canarios & LINDH PÄR/BJÖRN JOHANSSON

Lindh Pär and Björn Johansson biography
      Well, it's not easy to make a bio of Par Lindh & Bjorn Johansson because we're not talking about a band but about a project to release one (first) Tolkien related album, Bilbo and later "Dreamsongs from the Middle Earth".  This two friends and excellent musicians had worked together for a long time, Bjorn even played guitars in the first PAR LINDH PROJECT" album "Gothic Impressions, being an important part of it.    It's unnecessary to talk about Par Lindh and his long career with bands as ANTENNA BAROQUE, the Symphonic Trio VINCEBUS EREPTUM, his solo career as Church Organ virtuoso, Keyboardist, Classical Pianist, drummer and President of the Swedish Art Rock Society plus responsible of PAR LINDH PROJECT, so lets talk a bit about the incredible guitar player called Bjorn Johansson, who is not as well known as the Organ wizard but is also transcendental for Scandinavian Symphonic.    Bjorn is mainly a guitar player but as Mike Oldfield he's more than proficient in almost every one it's enough to mention that in his recordings with Par Lindh he plays classical guitars, 12 string guitars, 6 string steel guitars, electric guitars, slide guitars, sitar guitar, zither, Jews harp, mandolins, bouzoki, bassoon, tin whistle, low whistle, Akai S2000 sampler, Giga studio sampler, Access Virus virtual analogue synthesizer, jingle bells, vibraslap & cabasa Bass.   After releasing Gothic Impressions, Pär Lindh approached Bjorn because of his great interest in releasing a Tolkien based album called "Bilbo" (1996), in the vein of Bo Hansson's Lord of the Rings but with a clear Medieval and Baroque influence so beloved by both musicians.    In this first project they counted with Magdalena Hagsberg and Anna Scmidtdz in the flutes.   In 2004 they rejoin again to release their second joint project called Dreamsomngs from Middle Earth, again with members of Par Lindh Project as Magdalena Hagsberg and Lovisa Stenberg plus Roine Stolt from THE FLOWER KINGS who plays bass in the track "Dream Three""    This album has a more Classic Symphonic approach, giving a different perspective to Tolkien's narrations.  (from ProgArchives.com)

Los Canarios biography  (from Progarchives.com)
LOS CANARIOS was a Spanish band that started playing back in the late 60's. At the beginning, they played Soul and R&B influenced music, singing mostly in English. Recorded in the Seventies, "Circlos" shows an adaptation of VIVALDI's "Four Seasons" with a rock and Hispanic flavour. This is a concept album with an interesting story line that goes from the creation of the Earth to the Apocalypse in 2700 A.C.

The music reminds of this era, with a predominant Hammond organ, a blend of rock and classical music in the style of THE NICE and other EKSEPTION. This album is a heavy and dynamic work in its own right with plenty of synth and organ work as well as guitar. Vocals (in English) are heard throughout but I'd say the album is dominated by instrumental sections. "Ciclos" is a classic of the Spanish progressive scene. But otherwise I have to agree with other prog fans that this is a classic.

DISCOGRAPHY:
1968 - Lo Mejor Del Clan
1970 - Libérate
1972 - Canarios Vivos
1974 - Ciclos 

Los Canarios official website

04 October 2011: Steven Wilson "Grace For Drowning"

From Steven Wilson on his second solo release (a 2cd set):
"'Insurgentes' was an important step for me into something new. This record takes that as a starting point, but it’s more experimental and more eclectic. For me the golden period for music was the late sixties and early seventies, when the album became the primary means of artistic expression, when musicians liberated themselves from the 3 minute pop song format, and started to draw on jazz and classical music especially, combining it with the spirit of psychedelia to create “journeys in sound” I guess you could call them. So without being retro, my album is a kind of homage to that spirit. There’s everything from [Ennio] Morricone-esque film themes to choral music to piano ballads to a 23 minute progressive jazz –inspired piece. I've actually used a few jazz musicians this time, which is something I picked up from my work remixing the King Crimson records"^[6]
All songs written and composed by Steven Wilson.

Disc 1: Deform to Form a Star
No.	Title	Length
1.	"Grace for Drowning"	2:06
2.	"Sectarian"	7:41
3.	"Deform to Form a Star"	7:51
4.	"No Part of Me"	5:45
5.	"Postcard"	4:29
6.	"Raider Prelude"	2:23
7.	"Remainder the Black Dog"	9:27

Disc 2: Like Dust I Have Cleared From My Eye
No.	Title	Length
1.	"Belle de Jour"	2:59
2.	"Index"	4:49
3.	"Track One"	4:16
4.	"Raider II"	23:21
5.	"Like Dust I Have Cleared From My Eye"	8:01

27 Sept 2011: FreeForm Progressive Goes Elk Hunting on Afognak Island

Tonight's host may or may not be playing progressive music - see you next Tuesday!

20 Sept 2011: Children of the Bong & King Crimson

Children of the Bong was an electronic band formed in the early 1990s by Rob Henry and Daniel Goganian. They signed to Planet Dog Records in 1994 and released one album, Sirius Sounds, as well as a couple of tracks on Planet Dog compilations. The band recorded a Peel Session for DJ John Peel on BBC Radio 1 on 26 April 1994 [1]

The group split up shortly after the release of the album. Rob Henry went on to form a band called Euphonic and now plays in a band called Neech. Daniel Goganian went on to study at the National Film and Television School and now works in the film and television industry for Savalas Audio Post Production in Glasgow, Scotland. He also plays samba percussion for the Paraiso School of Samba in London.

Larks' Tongues in Aspic is the fifth studio album by the English progressive rock group King Crimson, originally released in 1973. This album is the debut of King Crimson's third incarnation - arguably their most forward-thinking thinking version yet, featuring original member and guitarist Robert Fripp and new members John Wetton (vocals, bass guitar), David Cross (violin, Mellotron), Jamie Muir (percussion), and Bill Bruford (drums), as well as lyricist Richard Palmer-James. Bruford had just left his previous band, Yes before they embarked on their "Close To The Edge" tour. Bruford felt that he had done all he could with Yes at this point and thought the more jazz oriented King Crimson would be a more expansive outlet. The album sees the band incorporate into its sound violin and also various exotic percussion instruments, including sheet metal and mbiras, all courtesy of the newly arrived Muir.
The album opens with a long experimental instrumental piece titled "Larks' Tongues in Aspic, Part One." After that there are three vocal pieces, "Book of Saturday", "Exiles" and "Easy Money." These are followed by two more instrumentals, "The Talking Drum" and "Larks' Tongues in Aspic, Part Two." The instrumental pieces on this album have strong jazz fusion influences, and portions have an almost heavy metal feel.
The album spawned the concert staple "Exiles", whose Mellotron introduction had been adapted from an instrumental piece called "Mantra" the band's original line up performed throughout 1969. At that time, as well as in late 1972, the melody was played by Fripp on guitar.
It is the only studio album with this 5-man line up. Muir left the group while on tour promoting this album in 1973. Attrition took this incarnation of King Crimson through the next several albums until Fripp's "retirement" in 1975.
In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came #22 in its list of "40 Cosmic Rock Albums". ^{(from Wikipedia)}

13 September 2011: Invisible Opera Company of Tibet (Brazil) & Greylevel

Invisible Opera Company Of Tibet (Brazil) biography
INVISIBLE OPERA COMPANY OF TIBET is a code name created by Daevid Allen (Gong), which original idea is, as he says, 'an international ideological/spiritual/aesthetic communications network for artists of all kinds who share the common vision of warm hearted, pan-stylistic, inclusive art forms which serve the drive towards conscious evolution'. Subsequently different band versions originated whilst picking up this spirit with more than 50 members and ex-members around the globe.

The Brazilian branch, initially provided with the suffix 'Tropical Version Brazil', manifested around 1988/89 when guitarist Fabio Golfetti of the psych prog band Violeta De Outono contacted Allen with the intention to collaborate. They recorded the first single 'Numa Pessoa Só' in 1989 and two years later their debut 'The Eternal Voice' came out, musically a mix of ambient, glissando and ethno/world element.  Glissando Spirit is the album we will hear this evening, released in 1993.

Hailing from the wild west coast of Canada, Greylevel crafts a unique blend of progressive and emotional rock music.
From humble beginnings as a solo studio project, Greylevel has since evolved into a full-fledged band. Brought together by shared passion for creating original music that aims to transport the listener into worlds of sound.  Opus One was their first album.

06 September 2011: Celebrate the 70s: Beggars Opera & Bo Hansson

Bo Hansson - Music Inspired by Lord of the Rings
Bo HANSSON (born 10 April 1943 in Gothenburg, Sweden, died 24 April 2010) is famous for his 1972 concept album "Lord of the Rings" which came out decades before Hollywood ever made any noise about Tolkien's trilogy. The music was taped on a remote island off Stockholm, on an 8-track recorder, in a summer house studio with the help of a few friends and musicians. It received Gold Record awards in England and Australia. Licenced by Tony Stratton-Smith's Charisma label in England and America, it was also the subject of an extensive TV ad campaign that turned it into a hit in progressive rock circles at the time.

"Lord of the Rings" is a beautiful, timeless album of instrumental psychedelia worth hearing, even if it does sound rather 70ish production-wise. It doesn't feature any "fantasy/medieval" themes à la AYREON but captures the otherworldly, pastoral feel of Tolkien's work, like a Nordic album should.

 Beggars Opera - Pathfinder
This band was from Scotland, their name is derived from a novel by the poet John Gray in 1728. The musicians of BEGGARS OPERA were Martin Griffiths (vocals), Rick Gardiner (guitar and vocals), Alan Park (keyboards), Gordon Sellar (bass, acoustic guitar and vocals), Virginia Scott (Mellotron and vocals) and Raymond Wilson (drums and percussion). BEGGARS OPERA made a lot of records but remained acting in the shade of most progressive rock bands.
 On their third LP "Pathfinder" BEGGARS OPERA seems to have reached its pinnacle: strong and alternating compositions with lush keyboards (Mellotron, organ, piano and harpsichord), powerful electric guitarplay and many shifting moods (even Scottish folk with bagpipes).

29 August 2011: Caravan & Elbow

The 40th Anniversary release of Caravan's classic Canterbury Sound album featuring remixes of some tracks by Steven Wilson (Porcupine Tree).
Caravan are an English band from the Canterbury area, founded by former Wilde Flowers members David Sinclair, Richard Sinclair, Pye Hastings and Richard Coughlan.^[1] Caravan rose to success over a period of several years from 1968 onwards into the 1970s as part of the Canterbury scene, blending psychedelic rock and jazz to create a distinctive sound like their contemporaries Soft Machine. Caravan still remains active as a live band in the 21st century.

Also this evening, progressive music from Elbow.

Elbow are an English rock band. They have played together since 1990 and recorded five studio albums, the most recent of which is Build a Rocket Boys!, released in March 2011. In the UK all of their albums have made the top twenty and seven of their singles have been in the top forty.
In 2008 they won the Mercury Music Prize for their album The Seldom Seen Kid.

Steven Wilson solo album due soon: Grace For Drowning

28 June 2011: Matt Stevens & Interstellar

Interstellar 

The Canadian band was formed in 1998 by Rob Boak (guitar, bass, keyboards) and Denis Dufour (guitar, bass, keyboards, vocals).^[1] The debut album, Late Night Tea, was released in 2000 on Mother Superior Records.^[1] Cam Lindsay of Exclaim! described the record as sounding like it had been recorded "at four in the morning", comparing it with Spiritualized and Tortoise.^[2] Second album ToSleepToDreamToWake was recorded over three years and issued in 2004 on Plan Eleven Records, charting across Canada.^[3] It was described by Darren Eke of Exclaim! as containing "varying degrees of jazz, psychedelia and electro-pop, which are often aided by atmospheric guitar or synthesiser textures to enhance its up-tempo electronic lustre",^[4] and by Wavelength as "a sublime mix of multiple instrumentals and lovely spacey ambience"

Matt Stevens

From Matt Stevens: "It is just me, a guitar and a loop pedal in front of an audience at the Electric Garden Festival in May 2011. There is a full review of the festival here." 

14 June 2011: AKIN & The Winter Tree (formerly Magus)

Rancho Santa Margarita, CA – 6 June 2011 – "The way things end" is an hour plus, 15 track adventure, mixing progressive rock, metal, pop music and a bit of jazz. A string quartet from the Conservatoire National de Musique et de Danse de Lyon performs on it along with a classical flute, percussion and some other exotic instruments, such as the dilruba. The result is, as recently noted by an English reviewer, "a work of harmonious contrasts, (...) a jazzy liveliness but with a melancholy gothic underbelly; delicate subtlety and driving power; catchy and melodic but with technical musicianship; adventurous, fascinating and absorbing but oh so easy to listen to; acoustic and electronic instrumentation; simplicity and sophistication; light and dark."

THE WINTER TREE (formerly MAGUS) is a band formed by composer/multi-instrumentalist Andrew Laitres(a.k.a. Andrew Robinson) with vocalist/guitarist Mark Bond and his wife Deb Bond on keyboards. In late 2010 Andrew decided to rename the band THE WINTER TREE, after the song of the same title by one of Andrew's favorite bands, Renaissance. Andrew, along with new bandmates Deb and Mark Bond, released the self-titled CD "The Winter Tree" in mid 2011 with ProgRock Records.

The Winter Tree is a synthesis of many different musical styles and genres: rock, folk, electronic, ambient, and world music among others. These elements combine to create a fascinating and cohesive work that should satisfy the progrock enthusiast as well as a diverse listening public.
Our thanks to Shawn at ProgRock Records for making this music available for our listeners.

FreeForm Progressive Takes a Break

FreeForm Radio will continue at its regular time and day, but the hosts may not be playing progressive music.  We'll return with prog in late May.

19 April 2011: Crimson Jazz Trio & Ship of Fools

The Crimson Jazz Trio was a jazz trio led by drummer Ian Wallace, formerly of King Crimson, who re-interpreted King Crimson's music. The trio was conceived by Wallace, who recruited Tim Landers (bass) and Jody Nardone (piano) in 2004. They recorded the album The King Crimson Songbook, Volume One (Voiceprint) in 2005. The album includes material from beyond Wallace's tenure in King Crimson. It was supported with a few live dates in different parts of the US, but plans for further touring were scrapped due to Wallace's falling ill.
The band finished recording a second album, The King Crimson Songbook, Volume Two, with assistance from Jakko Jakszyk and Mel Collins (Wallace's colleagues in 21st Century Schizoid Band; Collins is also a King Crimson alumnus) before Wallace died on February 22, 2007. It was released on April 7, 2009 on Inner Knot Records.  (from Wikipedia)

Much in the vein of Ozric Tentacles, and hailing from the same UK free festival scene, the Ship of Fools took us on an all-too-short but stunning voyage of discovery through two noteworthy albums in the early 90’s. Trippy psychedelic soundscapes, oscillating, swirly and swishing keyboard effects and trance inducing grooves predominate through these albums. While less possessed of the habit of jamming than their Ozric contemporaries, Ship of Fools had a talent for painting visual albums with their sound through the interplay of music with sound-clips, giving their work an amazingly cinematic quality that could usher the mind into realms rarely explored.

The band’s first fully-fledged album came out in 1993. Close Your Eyes (Forget the World), as the title would suggest, is a work with a hallucinatory quality. Entirely instrumental, save for the odd vocal sound clip, textured electronics interact with swirling phased guitars throughout this album, all the while underpinned by an intuitive drummer and more than adequate bassist. Deft use is made of repetitive grooves, explored in all their facets, infusing the listener’s cerebrum with a gorgeous textural ambience.

This is the kind of music that makes one go ever deeper into rarely explored territory, spacing the mind out into a kind of oneness with the music. The effect can be at times meditative and calming, as when Graham Wilkes’ flute dominates during the Celtic-tinged "Western Lands". At others it is invigorating, as when a long lasting repetitive groove is suddenly replaced by heavy riffing guitars and other sonic flourishes.

The band’s keyboard sound is heavily on the electronic side, with some elements that are close to techno. Yet all of this is counterbalanced by an organ sound that recalls the early 70’s, as well as a certain symphonic quality that gives the music a sense of grandeur and presence. Such counterbalance of instrumentation seems to have been very much a part of the band’s approach as it is difficult to find any part on a Ship of Fools disc that is dominated entirely by any one member of the band. For the most part, it is truly a group effort, with each member contributing a valuable part of the overall sonic palate; supporting the work of the others.

Out There Somewhere continues this approach, but now with a somewhat harder and more driving sound. Gone (with the exception of one track) is the flautist, as the band introduced a second guitarist to the mix. The general sound is more aggressive and heavily layered. The compositions are just that: compositions with limited jamming but plenty of flourishes into parts unknown that could only be explored by a band in which the musicians are totally in synch with a joint vision within the framework of a generally composed piece.

The musicianship is excellent, building upon the strengths of the first release. But the glue that seems to hold the whole thing together is in the extensive use of sound-clips that range from such diverse sources as the Apollo 11 mission, the Wizard of Oz, Ren & Stimpy’s Space Madness and even readings from Michel Foucault’s Madness & Civilization (from which the band appear to have taken their name). The whole thing melds the album into an exploration of one of Space Rock’s abiding fascinations: the discovery of one’s inner-self through exploring without. Hawkwind may have said it first with their "D-Rider" (“Facing out, we’re facing in”) but Ship of Fools here make the definitive space-rock commentary on the relationship of mankind to its universe. As such, this is kind of a concept album. The concept is far from linear, but a message therein is contained.

To pick out any one track from Out there Somewhere that stands above the rest is difficult. The album starts out hard and driving as if propelled by raging pistons, and yet by the third song the music takes on a pastoral quality. As each piece segues into the next, one has the impression of a carefully constructed and holistic piece of work; a rich tapestry of sound and audio-clips that weave an intricate pattern of images within the consciousness. The result is a richly psychedelic and intensely visual audio experience: one that engages the mind in a complete interaction with the music. I am quite sure that, if they had ever been introduced to each other, Nektar’s Mick Brockett would have had a field day with these guys.

With these classic albums, Ship of Fools presented an experience that went beyond that which is audible. It’s a sonic exploration of the consciousness…one that unfortunately is not available to most listeners. These titles (which were once available on a double CD) are no longer available. Hopefully enough of an outcry can emerge to make them once again available. It’s up to you, but I say that it’s time we keel-haul those responsible for the loss of one of space rock’s greats if these great titles do not once again readily grace many a CD deck.

There is some hope however. It seems at the time of writing that the best parts from these titles have been gathered together and remixed into a single CD, Lets Get This Mother Outta Here on Peaceville Records.  (from http://www.progressiveears.com/asp/reviews.asp?albumID=1838&bhcp=1)

12 April 2011: Frank Zappa & XAAL

Hot Rats is the second solo album by Frank Zappa. It was released in October 1969. Five of the six songs are instrumental (the song "Willie the Pimp" features a short vocal by Captain Beefheart). It was Zappa's first recording project after the dissolution of the original Mothers of Invention. In his original sleeve notes Zappa described the album as "a movie for your ears."
Because Hot Rats focuses on instrumental jazz-like compositions with extensive soloing, the music sounds very different from earlier Zappa albums, which featured satirical vocal performances with extensive use of musique concrète and editing. Multi-instrumentalist Ian Underwood is the only member of the Mothers to appear on the album and was the primary musical collaborator. Other featured musicians were Max Bennett and Shuggie Otis on bass, drummers Aynsley Dunbar and John Guerin and electric violinists Don "Sugarcane" Harris and Jean-Luc Ponty.
This was the first Frank Zappa album recorded on 16-track equipment and one of the first of such recordings released. Machines with 16 individual tracks allow for much more flexibility in multi-tracking and overdubbing than the professional 4- and 8-track reel-to-reel tape recorders that were standard in 1969. While Zappa was recording Hot Rats The Beatles were working on their Abbey Road album, but were limited to 8-track technology.
The album was dedicated to Zappa's new-born son, Dweezil Zappa.  (from Wikipedia)

 On the Way (En Chemin) forges ahead into the French "zeuhl" music. Based largely on pioneers such as Magma and Univers Zero, Xaal's music has the rhythmic proficiency of both the aforementioned bands, and even some horn guest spots from former Magma-ites. But rather than re-live old glories, Xaal takes the sound into new directions. Their melodies are based around a heavy, riffing guitar and occasional keyboard backdrops. Occasionally they remind me of Voivod! Led by busy drumming and an active bass, the music contains the weirdness, inconsistencies, and drive that early Magma had, without the repetition that turns many people off that band. The creative level here is something right out of the seventies and hopefully this will inspire other nineties prog bands to become more self-indulgent. This was, IMHO, one of the strongest new releases in 1992. Highly recommended. (from New Gibraltar Encyclopedia of Progressive Rock)

5 April 2011: Greylevel + Matt Stevens

Hailing from the wild west coast of Canada, Greylevel crafts a unique blend of progressive and emotional rock music.
From humble beginnings as a solo studio project, Greylevel has since evolved into a full-fledged band. Brought together by shared passion for creating original music that aims to transport the listener into worlds of sound.
The band spent two years carefully working on their sophomore release entitled "Hypostatic Union", their first album that features all 5 members. This album is now available through ProgRock Records.

Matt Stevens is a musician and composer from North London. An instrumental artist, he uses an acoustic guitar and a sampler to create multi layered tracks live. This is often called Live Looping. His music is compared with artists as diverse as Radiohead and Robert Fripp. He plays live all over the UK. 

March 29 2011: Tribute to Gary Moore

Tonight's show is a tribute to the late, great guitarist Gary Moore who passed away recently.  We'll be playing Andrew Lloyd Webber's Variations (for rock band and cello), a live recording of Gary supporting Greg Lake in 1981, and few other tidbits.

Robert William Gary Moore (4 April 1952^[1] – 6 February 2011), better known simply as Gary Moore, was a musician from Belfast, Northern Ireland, best recognized as a blues rock guitarist and singer.
In a career dating back to the 1960s, Moore played with artists including Phil Lynott and Brian Downey during his teens, leading him to membership with the Irish rock band Thin Lizzy on three separate occasions. Moore shared the stage with such blues and rock luminaries as B.B. King, Albert King, Colosseum II, Greg Lake and Skid Row (not to be confused with the heavy metal band of the same name), as well as having a successful solo career. He guested on a number of albums recorded by high profile musicians, including a cameo appearance playing the lead guitar solo on "She's My Baby" from Traveling Wilburys Vol. 3.
Moore died of a suspected heart attack^[2] in his hotel room while on holiday in Estepona, Spain, in February 2011.^[3][4]

Variations is a Classical/Rock fusion album by Andrew Lloyd Webber
Andrew Lloyd Webber and younger brother Julian Lloyd Webber were always very close, but their two different careers (a rock musical composer and a classical cellist) meant that a collaboration seemed unlikely. It wasn't until Julian beat his brother in a bet on a Leyton Orient football match that Andrew was forced to write his cello work.
As his subject, Andrew chose the theme of Paganini's 24th caprice and added 23 variations for cello and rock band. The work premiered at the 1977 Sydmonton Festival with rock band Colosseum II, featuring Gary Moore, being joined by Barbara Thompson (Sax, Flute), Rod Argent, (Piano, Synthesizer, Keyboards) and Julian Lloyd Webber (Cello). It was subsequently rearranged and recorded in 1978. It reached number 2 in the album charts.  (from Wikipedia)