Welcome to my very first blog! An area I am very passionate about is the best albums of prog

I posted a series of polls to determine which were the best prog albums through the years. After painstakingly researching a number of websites of lists and favourite albums including this website here of course, I came up with a number of lists of the best albums per year. Of course this opened the floodgates for proggers to vent their frustrations on the albums that were missing but i think these lists were fair according to popular results on the web. It is impossible to include every album but these lists are as prolific as I could collate.

Here are the full lists here with album covers. Some lists have been altered according to proggers on the polls demanding certain albums be included and I concur with these requests.

Part 1:Prog Poll through the years 1967

Top 15 - Here is the prog poll for definitive albums of 1967. Bear in mind of course I can’t place every album but these are the ones that seem to find their way into best of lists and are discussed by progheads.

Sgt. Pepper's Lonely Hearts Club Band – The Beatles

Piper At The Gates Of Dawn – Pink Floyd

Procol Harum

Axix: Bold As Love – Jimi Hendrix

Vanilla Fudge

After Bathing at Baxter’s – Jeffferson Airplane

The Masters Apprentices

Days Of Future Passed – The Moody Blues

The Thoughts Of Emerlist Davjack – The Nice

Dear Mr Fantasy – Traffic

Surrealistic Pillow – Jefferson Airplane

Magical Mystery Tour – The Beatles

Are You Experienced? – Jimi Hendrix

The Doors

Absolutely Free - Frank Zappa

The results:

Sgt. Pepper's Lonely Hearts Club Band – The Beatles	24	[25.26%]
Piper At The Gates Of Dawn – Pink Floyd	12	[12.63%]
Procol Harum - Procol Harum	5	[5.26%]
Axix: Bold As Love – Jimi Hendrix	5	[5.26%]
Vanilla Fudge - Vanilla Fudge	1	[1.05%]
After Bathing at Baxter’s – Jeffferson Airplane	1	[1.05%]
The Masters Apprentices	0	[0.00%]
Days Of Future Passed – The Moody Blues	13	[13.68%]
The Thoughts Of Emerlist Davjack – The Nice	4	[4.21%]
Dear Mr Fantasy – Traffic	1	[1.05%]
Surrealistic Pillow – Jefferson Airplane	0	[0.00%]
Magical Mystery Tour – The Beatles	3	[3.16%]
Are You Experienced? – Jimi Hendrix	5	[5.26%]
The Doors - The Doors	13	[13.68%]
Absolutely Free - Frank Zappa	8	[8.42%]
OTHER (specify in post)	0	[0.00%]

No others chosen so no need to add any!

My review:

*****Sgt Pepper's Lonely Hearts Club Band

An album that changed the face of music forever

Sgt Pepper's Lonely Hearts Club Band has been labelled as the greatest album of all time, certainly as far as The Beatles are concerned, it is perhaps the best they have produced, though I prefer The White Album. The album is groundbreaking in terms of the concept and the musical inventiveness on every track. Heck, even the album cover is brilliant and considered the best of all time.

It begins with the crowd sounds of a fake audience and a catchy riff 'it was 20 years ago today....' the track blends seamlessly into 'A Little Help from my Friends' with Ringo's low key vocals at his best. Lucy in the Sky with Diamonds the LSD trip is another highlight with psychedelic lyrics and echoing spaced out Lennon picturing himself on a boat on a river with plasticine people, newspaper taxis, and the girl with kaleidoscope eyes. It is quite simply an incredible song.

The sound effects are prominent throughout the album in particular Good Morning Good Morning with the iconic horse galloping and country sounds. The time sig change is quirky in the verses and very progressive. The way that the band used the effects is as influential to prog as any other album you can name - just take For the Benefit of Mr Kite for example, amazing wall of sound throughout and those spaced out lyrics are a treasure. The Beatles owe a lot to Beach Boys 'Pet Sounds' as has been well documented, but Sgt Pepper put it to better use, blending great rock with innovation and experimentation. This may well be the beginning of prog.

If you are still not convinced 'A Day in the Life' seals the deal. Lilting dreamy verses that build to 'I'd love to turn you on' that leads to the infamous orchestra slide ? eerie, chilling, disturbing and unforgettable. Then the keys stab as Paul begins the quaint bridge, the song has now completely changed, 'woke up, got out of bed, dragged a towel across my head...' it leads to the psych trip where 'somebody spoke and I went into a dream' ? the dream is the soundscape of a full orchestra and ambient vocals that echo to some faraway place. Then the song returns to the original tune. The ending is the orchestral crescendo that builds noisily until the final low piano chord. It continues and continues until it fades. Then we have a silence which is punctuated by a weird, off kilter loop that sounds like 'I wouldn't have it any other way' over and over. Originally this was the needle stuck in the groove of the vinyl alum but it works on CD as well.

And thus ends the most influential album in history. I think the album managed to capture everything that prog has become and it is an essential album for changing the way we listen to music and accept types of music. Dangerously experimental, ferociously original, it is beyond a masterpiece. 5 stars

Part 2:Prog Poll through the years 1968

Top 15 - Here is the prog poll for definitive albums of 1968. A psychedelic year of music with some incredible albums heralding the birth of experimentalism and headphone music.

After much deliberation and research here is the list:

In Search Of The Lost Chord – The Moody Blues

The Crazy World Of Arthur Brown

 

 

The Cheerful Insanity Of Giles Giles & Fripp

 

 

Caravan

 

 

Renaissance – Vanilla Fudge

 

 

This Was – Jethro Tull

 

 

Ars Longa Vita Brevis - The Nice

 

 

Soft Machine

 

 

S. F. Sorrow - The Pretty Things

 

 

 

Shine On Brightly – Procol Harum

 

 

White Album – The Beatles

 

 

We’re Only In It For The Money – Frank Zappa

 

 

 The results:

In Search Of The Lost Chord – The Moody Blues	13	[12.87%]
Electric Ladyland – Jimi Hendrix	7	[6.93%]
The Crazy World Of Arthur Brown - Arthur Brown	8	[7.92%]
A Saucerful of Secrets – Pink Floyd	21	[20.79%]
Music In A Doll's House – Family	2	[1.98%]
The Cheerful Insanity Of Giles Giles & Fripp	1	[0.99%]
Caravan - Caravan	2	[1.98%]
Renaissance – Vanilla Fudge	2	[1.98%]
This Was – Jethro Tull	6	[5.94%]
Ars Longa Vita Brevis - The Nice	3	[2.97%]
Soft Machine - Soft Machine	5	[4.95%]
S. F. Sorrow - The Pretty Things	2	[1.98%]
Shine On Brightly – Procol Harum	3	[2.97%]
White Album – The Beatles	17	[16.83%]
We’re Only In It For The Money – Frank Zappa	7	[6.93%]
OTHER (specify in post)	2	[1.98%]

 

There were 2 choices for other:

The Collectors – The Collectors

Song of Innocence - David Axelrod

 

AND THE WINNER IS...

 

 

 My review absolutely was scathing towards this, which just shows you can't always agree with a majority!

 My Review:

 

**  Is it sacrilegious for a Pink Floyd addict to detest this?

I am a massive Floyd fan and would bleed 'Dark Side of the Moon' if you cut me, but this is the worst excuse for an album I have come across from this band. Worse than 'The Final Cut?' Well, I may draw the line there, but this is still a detestable album. Why? I will give you two reasons; Syd and Barrett. The man was a raving nutter as we all know, but he can't sing a note to save himself, that droning monotone voice is enough to make you want to pickle your granny, and before I get lynched by a pack of Floyd freaks, of course Barrett was an iconic figure, but he produced some questionable material and questionable albums, including the abysmal self pitying debut solo effort who's name escapes me at the moment. Also Waters was absolutely wrapped up in his own cerebral cortex on this effort. The music is so lacklustre, it is heart wrenching, and although Barrett only is allowed to sing on the last track, his influence is prevalent.

What are the highlights on such a mediocre album? Perhaps we have to start with the obvious, the compelling Roger Waters' masterpiece 'Set the Controls for the Heart of the Sun' that has a hypnotic groove that draws you in with dark overtones and a riveting bassline. I always loved this. 'Let There Be More Light' is certainly a fabulous track with a spacey guitar feel and very moody keyboards from the incomparable Wright. Floyd can pruduce brilliant epics such as 'Echoes' and 'Shine On', but 'Saucerful of Secrets', running for a tortuous 12 minutes, is mind numbing and dull. Trimmed down it is OK, but how many spacey guitar runs and Dracula organ do we need? 'Ummagumma' provides better versions in any case. The Floyd were always better live and it seems in the studio at this stage of their careers, the four walls of a booth were stifling their creativity.

These tracks save this album from the one star bomb, but the other tracks are truly forgettable. The dreadful caterwauling of Waters' 'Corporal Clegg' is the type of puerile nonsense I am talking about. A psyched up weird thing that sounds like bubblegum now or the pale shadow of The Beatles. Listen to those kindergarten lyrics by Waters: "Corporal Clegg had a wooden leg, He won it in the war, in 1944., Corporal Clegg had a medal too In orange, red, and blue, He found it in the zoo. Dear, dear were they really sad for me? Dear, dear will they really laugh at me? Mrs. Clegg, you must be proud of him. Mrs. Clegg, another drop of gin." Does anyone really care about this anymore? In its time it probably knocked all the hippies off their heads, but now it sounds dated and obsolete.

The album has not dated well and the flower power psychedelic sounds are nauseating and at times Waters' vocals are akin to a cat scratching its claws down a blackboard; 'See Saw' is the idiot child of 'Sgt Pepper' and really is ear cringing wallowing beyond comprehension. The lyrics are childish and Wright is off with the fairies on this. "Marigolds are very much in love, but he doesn't mind, Picking up his sister, he makes his way into the seas or land, All the way she smiles, She goes up while he goes down, down, Sits on a stick in the river, Laughter in his sleep, Sister's throwing stones, hoping for a hit.." Obviously an overdose of magic mushrooms for Wright who wrote this one.

'Jugband Blues' is Barrett's paean to a love interest with his lack of songwriting skills on display: 'And I never knew the moon could be so blue, And I'm grateful that you threw away my old shoes, And brought me here instead dressed in red, And I'm wondering who could be writing this song.' OK. I rest my case.

Contrary to popular belief, not everything Floyd touched was pure gold, in fact some of their early material stinks like yesterday's diapers, and unless you were stoned to the hilt, you would have thought this album was a yawnfest. People pretend to understand it, but there is no thread of reason throughout. I realise Floydians will gush over this album, simply because it is iconic Floyd with the legend in his own mind, Barrett in all his insane glory, but just because it is iconic and from the psychedelic 60s does not necessarily mean the actual music is any good. Well, now I have released all that anguish I can move on to a better album from Floyd; take your pick, this effort is a bottom of the barrel doped up Saucerful of Secretions!

Collectors Only!

 

-------------

Part 3:Prog Poll through the years 1969

Top 15 - Here is the prog poll for definitive albums of 1969. An essential year for prog with the ultra important bands of prog releasing great debuts such as King Crimson, Genesis, Yes, Van der Graaf Generator, and Jethro Tull.

After much deliberation and research here is the list:

Those Who Are About To Die Salute You – Colosseum

 

Family Entertainment – Family

Near The Beginning – Vanilla Fudge

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Abbey Road – The Beatles

 

Those Who Are About To Die Salute You – Colosseum	1	[0.76%]
Family Entertainment – Family	2	[1.52%]
Near The Beginning – Vanilla Fudge	1	[0.76%]
From Genesis To Revelation – Genesis	1	[0.76%]
Volume 2 – Soft Machine	4	[3.03%]
Tommy - The Who	5	[3.79%]
Yes - Yes	4	[3.03%]
Aerosol Grey Machine – Van der Graaf Generator	1	[0.76%]
Stand Up - Jethro Tull	8	[6.06%]
Trout Mask Replica – Captain Beefheart	4	[3.03%]
In The Court Of The Crimson King – King Crimson	69	[52.27%]
Ummagumma – Pink Floyd	6	[4.55%]
Joy of a Toy – Kevin Ayers	1	[0.76%]
Hot Rats – Frank Zappa	8	[6.06%]
Abbey Road – The Beatles	15	[11.36%]
OTHER (specify in post)	2	[1.52%]

The Others: none listed.

AND THE WINNER IS...

A landslide result like no other poll – I believe we have a WINNER:

 

My Review:

*****In The Court Of The Crimson King has become not only one of the most important albums of King Crimson but also one of the quintessential albums that spawned the progressive rock movement. Often quoted as the birth of prog rock, the album certainly encompasses all of the characteristics of the genre that we have grown to love: weird, jagged guitar licks, devastating drum time signatures that move outside the standard 4/4 rock signature, keyboards and mellotron pieces that balance the insanity, and all this punctuated by blazing blasts of saxophone that spiral out of control. In other words King Crimson at their best.

The influences of Jazz are prominent throughout and the band are so tight the music tends to punch holes within the fabric of the musicscapes. An example of this is in the awesome '21st Century Schizoid Man'. This song introduced me to the band and I have never looked back, getting hold of any King Crimson I can, I am proud to say I have been Krimsonized. You have to love a band that uses music to express themselves the way King Crimson does. Greg Lake's vocals in '21stCSM' are processed through a vocal transposer that make him sound like some terrible alien machine that is telling mankind where he is going wrong: "Politician's funeral pyre, Innocents raped with Napalm Fire."The lyrics are as potent as the Crim's can be. The feeling of alienation and a barren soundscape are exemplified in the way the song is structured. During the lyrics, a sense of minimalism is produced, then the wall of sound kicks in. The incredible sax and Robert Fripp's screaming guitar complement each other brilliantly throughout the opening half, and then it slows down for a moment before the time signature changes completely and there is an erratic saxophone that locks in and continues while a strange lead guitar howls and reverberates. One of the best things about this section is the way the music seems slightly off kilter, almost out of tune but not quite. There are moments where all instruments cease at once, pause and then begin on cue only to stop again in various rhythm patterns. It is quintessential listening for anyone interested in progressive rock.

Following this maelstrom of sound, the album settles down surprisingly, for where else could it go, into a very melancholy type of song, 'I Talk to the Wind'. This features Ian McDonald's woodwind and the soft vocals of Greg Lake. To be honest, it's not one of my favourite pieces, it all seems so safe and tranquil in comparison to the rest of the album, but I guess as a contrast it works well enough. 'Epitath' is a great track that has been partly resurrected by Greg Lake on ELP's excellent live epic 'Welcome Back My Friends to the Show That Never Ends' (the last few seconds on CD 1). It has a symphonic component that is created with a heavy blend of mellotron, keyboards and vibes. The lyrics are thought provoking "the wall on which the prophets write is cracking at the seams, upon the instruments of death the sunlight brightly gleams, when every man is torn apart with nightmares and with dreams..." this is where prog rock got its reputation for thought provoking lyrics. The stanzas are confusing, though enlightening and the lyrics revitalise the music, rather than detract. The two cannot exist without the other and are of equal importance. Peter Sinfield was responsible for some of the most provocative lyrics of the prog movement and he is credited on this album for 'words and illumination' interestingly enough.

'Moonchild' is the longest track and annoyingly tends to just go on and on, almost as a complete improvisation in the studio recorded without forethought at times. I know this is one of the most annoying things about this band that I love, but it is also the reason that they are outstanding; they do improvise in concert substantially, and it has garnered their reputation for jazz fusion. So it's a catch 22 - if you are into a band as experimental as King Crimson there are going to be moments in their repertoire that will infuriate you. Michael Giles drum patterns are interesting enough but unfortunately, as far as I am concerned, 'Moonchild' is just about the worst they have recorded. It should have been cut by about 6 minutes and there is too little going on for my tastes to even make this memorable. It is more or less a jazz improvisation and doesn't really go anywhere. Maybe this is why some fans adore it.

'The Court of The Crimson King' ends the album on a positive high note, although the album cover looks like the Crimson King is slowly being tortured to death. I absolutely cherish this song and it is one of the best prog tracks I have heard. Lake's vocals have never been better, and there are amazing flourishes of sweeping keyboards that send a chill down your spine. The sound goes from intense to very soft in waves and all is complimented by a stirring lyrical content: "The black queen chants the funeral march, the cracked brass bells will ring, to summon back the fire witch in the court of the crimson king."

On that note, in conclusion I will end this by stating the facts: if you care about the birth of progressive rock, if you like your prog jazzed up with a fusion of heavy mellotron, if you love saxophone interlaced with jagged guitar rhythms, if you have heard of this album but were worried to purchase it because it's so old, if you are into Emerson Lake & Palmer: look no further! This album encompasses all that makes prog rock so enticing, and in a sense it captures all that made King Crimson one of the leading progressive masters, brilliant but flawed geniuses. The Court of The Crimson King is, hands down, an essential purchase

There were actually 3 choices for other:

 

Part 4:Prog Poll through the years 1970

Top 15 - Here is the prog poll for definitive albums of 1970.

An Amazing year of prog with strong debuts from eclectic and symphonic legends and some of the best music you will ever hear in this selection. After much deliberation and research here is the list:

The Least We Can Do Is Wave To Each Other – Van der Graaf Generator

 

 

 

 

 

 

 

 

Time and A Word – Yes

 

 

John Barleycorn Must Die – Traffic

 

 

If I Could Do It All Over Again, I'd Do It All Over You – Caravan

 

 

Gentle Giant - Gentle Giant

 

 

Atom Heart Mother – Pink Floyd

 

 

Trespass – Genesis

 

Emerson Lake & Palmer

 

 

Lizard – King Crimson

 

 

H To He Who Am The Only One - Van der Graaf Generator

 

 

The Results:

 

The Least We Can Do Is Wave To Each Other – Van der Graaf Ge	2	[1.64%]
Kobaia – Magma	5	[4.10%]
Abraxas - Santana	4	[3.28%]
Benefit – Jethro Tull	3	[2.46%]
In The Wake Of Poseidon – King Crimson	4	[3.28%]
Third - Soft Machine	1	[0.82%]
John Barleycorn Must Die – Traffic	3	[2.46%]
If I Could Do It All Over Again, I'd Do It All Over You – Ca	5	[4.10%]
Gentle Giant - Gentle Giant	2	[1.64%]
Atom Heart Mother – Pink Floyd	10	[8.20%]
Trespass – Genesis	19	[18.03%]
Emerson Lake & Palmer - Emerson Lake & Palmer	17	[14.75%]
Lizard – King Crimson	18	[15.57%]
H To He Who Am The Only One - Van der Graaf Generator	20	[16.39%]
Time and A Word – Yes	1	[0.82%]
OTHER (specify in post)	3	[2.46%]

 

 

The Others:

 Black Sabbath - Black Sabbath

 

 

Fran Storstad - Bjorn J:Son Lindh

 

 

In Rock - Deep Purple

 

 

 

 

 

AND THE WINNER IS...

 

H To He Who Am The Only One - Van der Graaf Generator

 

My Review:

***** H to He Who Am the Only One is an excellent album from Van der Graaf Generator, definitely one of their best alongside Pawn Hearts (their best), the much celebrated Godbluff and the incredible The Least We Can Do Is Wave To Each Other. The album begins with the dynamic 'Killer' which is easily the best track on the album and a concert favourite. It focuses on a narrative perspective from a killer shark who wants to be loved but has an impulse to kill outside of its control: "You crave companionship... because the whole of your life you've been living alone". Interesting enough, the real highlight beyond the lyrics is the way Hammill delivers with absolute conviction and the way that the instruments compliment the keyboards with saxophones and percussion that is off beat at times but never out of time. Perfectly in synch, all the instruments blend to create a soundscape of doom and majesty and it captures the imagination unlike anything the early 70s had to offer. At 8 minutes the track flows beautifully from one segment to another, and features an erratic instrumental break that almost transports you under the sea witnessing a shark attack, the shrill saxophone bursts could be a fish screaming in pain, and the deep rumbles could be the shark swimming to its next meal. 'Killer' is an instant classic and a must for anyone interested in this genre of music.

'House With No Door' is one of the contemplative existentialist pensive tracks where Hammill contemplates life and the purpose for his existence.

'Emperor in his War Room' gets back to the greatness of VDGG, a torrid saga of an Emperor who "cradling his gun, after choosing the ones you think should die... crawling over the windowsill into your living room." The bodies that are "torn by vultures" are left to die by the "saviour of the fallen, protector of the weak". Once again terrific lyrics overladen by mellotron, atmospheric drums and saxophone, and the relentless bass.

"Lost" is another brilliant track that begins with a swirling dervish of keyboards and wrong chords that are used to maximum effect. It's as good as it gets and moves all over the place, with time signatures that are difficult to emulate. This is one of the more complex tracks from the band, and features an excellent saxophone and keyboard solo that drives the song forward to the final section The Dance in the Forest. One part pulses with a driving bass while a thin saxophone contains a strong esoteric melody. The echo of the saxophone adds to the sense of alienation and bleakness. It all ends on an off kilter series of notes that speed up into a frenzy that finally fades out.

'Pioneers Over C' is one of the best VDGG tracks and begins with a high pitched atmospheric note, then a low rumbling Hammond keeps the jagged rhythm in tact somehow, while the percussion kicks in. It's a great sound and prepares the way for Hammill's spaced out lyrics. "Somebody help me I am falling down" he cries. I just love the riff of the bass and sax in this track that stops and starts and even features quite a beautiful acoustic arrangement and spars saxophone. "The universe is on fire exploding without flame" - fair enough if the universe is going to go foom it may as well be to the melodies of VDGG. Heavy stuff throughout it never becomes overbearing thanks to the excellent structures of each track that range from tranquility to an out of control maelstrom.

The bonus tracks are surprisingly good and worth the effort. "Squid/Octopus" is a fantastic lengthy 15 minute epic that works well on a number of levels. From the estranged vocals, "I wish that you would set me free forever, but these rings on my arms are too deep...", down to the way it blasts and spews waves of noise using instruments from acoustic guitar to mellotron. I love the way it loses control halfway through almost improvisational in places and then somehow finds its way again, nobody could jam like these guys. The end is stuffed up with an added cymbal hit and the band members curse and laugh. But who would care after the way this track spiralled all over the place, but I guess these guys were perfectionists.

The early take of 'Emperor in His war Room' is more or less a curio and is a rare look at the makings of a classic track. It does sound different without the overdubs and atmospherics but is no the less the better for it.

Overall, H to He... is absolutely quintessential VDGG and my CD collection would be the poorer without it. Along with Pawn Hearts and Godbluff, I can't recommend this more highly.

 

 

This was followed very closely by Trespass - Genesis (when poll closed more votes came in making this a virtual winner by a vote)

 

 

 

My Review:

 

 *** After the quiet breeze there is a hailstorm of chaotic drums, a thunderclap of stormy distorted organ and soaring guitar solos, with an injection of venomous, sniping vocals.

"Trespass" is the first album from Genesis since they parted with Jonathan King and Decca labels to pursue a more distinct sound, that of the 'pastoral English idyll'. The album features some of the first use of Multi-tracked 12-string acoustic guitars that are blended with folky vocal harmonies, quiet flute, acoustic piano, and gentle keyboard pads on the Hammond and mellotron. It begins with an isolated secluded atmosphere in the form of 'Looking For Someone' that is certainly not a sound the band would return to on subsequent albums. The band were very unsure at times of their sound Anthony Phillips holds back on guitar preferring an acoustic approach, John Mayhew gently touched his drums, Peter Gabriel is quiet and calm, Mike Rutherford maintains simple basslines, Tony Banks prefers a subtle keyboard motif - all this of course is transformed into glorious prog chaos on the last track.

'White Mountain' is a Gabriel driven storytelling work with lyrics that would typify the Gabriel-era Genesis; "Thin hung the web like a trap in a cage, The fox lay asleep in his lair. Fangs frantic paws told the tale of his sin, Far off the chase shrieked revenge. Outcast he trespassed where no wolf may tread, The last sacred haunt of the dead. He learnt of a truth which only one wolf may know, The sceptre and crown of a king. Howling for blood, one-eye leads on the pack, Plunging through forest and snowstorm." Gabriel was perhaps inspired by Rudyard Kipling in this quirky tale of two wolves battling for a mystical crown. The music peaks at the end of each verse and slows into the pastoral English feel, Gabriel's voice is even fed through a machine echo effect at one point. The rhythm is maintained during the verse, with Gabriel part of the rhythm. The quieter moments of the song are characterised by flute and acoustic flourishes. The mellotron builds a cathedral atmosphere in the break. A wonderful song from the album characterising a new sound akin to Canterbury but still distinctive.

'Visions of Angels' is a softer track with some staccato moments and grinding organ and angel harmonies. The softer moments of the track are almost like a fairy tale and then there is a darker razor edge to the music with some ethereal piano and mellotron. The flute lends it's folky pastoral quality to the piece. Gabriel has a phased effect on his voice in one section, abut he is master of the storyteller style and once again he dominates the track: "Visions of angels all around, Dance in the sky, Leaving me here, Forever goodbye."

'Stagnation' is acoustically driven and has a soft Gabriel vocal and a lilting melody that goes nowhere and is a folk soaked passage of estranged lyrics and atmospherics. The guitar is well executed here picking style and a chiming keyboard adds a mystical quality with descending shapes and chilling notes pulled down the scale almost ghostly. The other worldly sound builds with an electrifying instrumental passage capitalising on organ and a quick tempo beat with basslines and drums adding the metrical pattern. The flute shines on this when Gabriel sings gently: "Wait, there still is time for washing in the pool, Wash away the past. Moon, my long-lost friend is smiling from above, Smiling at my tears. Come well walk the path to take us to my home, Keep outside the night. The ice-cold knife has come to decorate the dead, Somehow. And each will find a home, And there will still be time, For loving my friend, you are there..." It even sounds like The Moody Blues at one point. The rhythm builds again and Gabriel ad libs all sorts of nonsense to end this, "I want a drink, I want a drink, To wash out the filth that is deep in my guts, I want a drink." The flute returns over a clean guitar sound that has that distinct pastoral quality. Once again an underrated track from this horrendously underrated album.

'Dusk' is a very gentle calming track with some strange harmonies that remind me of early Pink Floyd or The Moody Blues. The lyrics are as whimsical as ever; "Once Jesus suffered, Heaven could not see him. And now my ship is sinking, The captain stands alone. A pawn on a chessboard, A false move by God will now destroy me, But wait, on the horizon, A new dawn seems to be rising, Never to recall this passerby, born to die."

There are bell chimes and a loaded flute that is played beautifully by Gabriel, adding a unique atmosphere, very tranquil and dreamy. The acoustic is once again a main factor and there are heavy crashes of piano. Not too bad but only a shadow of the next track which is a bonafide classic.

'The Knife' is a real fish out of water here, the most famous track on the album beginning with a staccato Hammond worthy of Emerson and in fact Keith was impressed with the sound and let the band know it. Gabriel was quite attracted with The Nice and the song 'Rondo' and in trying to capture this sound came up with a track that would typify the Genesis sound on their next album "Nursery Cryme". The Hammond and one note fuzz bass intro this excellent prog exploration.

The lyrics are a real point of interest and Gabriel frighteningly sneers his way through them with utter conviction; "Stand up and fight, for you know we are right, We will strike at the lies, That have spread like disease through our minds. Soon we'll have won and we'll treasure this worth, With our winnings and kindness To all who our love now deserve, Some of you are going to die, Martyrs, of course, to the freedom I will provide." The song's lyrics focus on Gabriel's reflections on violent revolutions, and the lyrics determine to explore how those who use violence all in the name of freedom are often the ones who actually establish their own dictatorship.

In the mid section the dark Hammond sound ceases and a bass booms with a violining guitar created by volume swells, and then a lilting haunting flute, subtle cymbal clangs on the ride cymbal and a beautiful keyboard pad providing a dark ambience. Then a fuzzed electric guitar is heard with Rutherford's fuzz bass, an off kilter chord structure, and phased vocals chant with a tape loop of screaming and voices, the birth pangs of prog are right here. The guitars have a chance to launch into flight with some of the best work from Anthony Phillips.

After you have been lulled to sleep by all the gentle pastoralness of the previous tracks with their one note bass passages and dreamscape instrumentals you are suddenly jolted back to life with 'The Knife'. After the quiet breeze there is a hailstorm of chaotic drums, a thunderclap of stormy distorted organ and soaring guitar solos, with an injection of venomous, sniping vocals. It is not for nothing that this song closed the Genesis set for years after and is the only track fans want to talk about from 'Trespass'. The song in fact trespasses across the green fields and sets fire to them. The firestorm is a mixture of chemicals fuelled by psychedelic guitar passages, crunching fuzz bass, and blazing Hammond.

The dynamic nuances are augmented by psychotic lyrics; "I'll give you the names of those you must kill, Then have all burned and quickly, Cover them up in Trafalgar square, Hurry to see, you'll see them dead In this ugly world, Ready to fight for your freedom, Now, when I give a word, Hang 'em on high, let the blood flow..." The disturbing lyrics are enhanced by massive stabs of Hammond and gut wrenching guitar riffs but the fuzz bass is so entrenched upon the sound that it is as heavy as the band would get. An absolute masterpiece of prog.

In conclusion it would be unrealistic that I rate this anything more than 3 stars as the greatness of Genesis was yet to come. But this is still a solid slice of early prog and 'The Knife' is an outstanding track, one of the essential blasts of creativity from the Gabriel era. The knife stabbed in the album cover signifies that the band are slicing their ties with commercialism and dragging across a blade to usher in a new progressive sound that would become symphonic prog. It is interesting to note that the album cover has a pastoral feel with religious overtones, a couple stare lovingly out the arch toward the distant horizon and a cupid creature dances merrily in the foreground, but the knife stabbed in the back gatefold is like the stab in the heart of the pastoral idyll, the way 'The Knife' stabs in at the end of the album, infiltrating the quiet atmosphere, almost tacked on as an afterthought is intriguing; it is one thing to swim against the flow but here the goldfish has jumped out of the bowl. Perhaps the band were experimenting, and trying to ascertain what would happen if they pulled out all the stops and attempted a 'Rondo'. The result was a success and opened the floodgates for a prog sound like no other in the years to come. Overall, the album is a genuine curio showing the birth of a band that is ready to catapult into the progosphere with their next adventure, the awesome "Nursery Cryme".

-------------

Part 5:Prog Poll through the years 1971

Top 15 - Here is the prog poll for definitive albums of 1971.

Amazing sounds of early 70s with a plethora of masterpiece albums that are still discussed and revered today. This was toughest choice thus far but I had to go for these:

Death Walks Behind You – Atomic Rooster

 

 

The Yes Album – Yes

 

Aqualung – Jethro Tull

 

 

Tarkus - Emerson Lake & Palmer

 

 

Ash ra Tempel - Ash ra Tempel 

 

 

In Search Of Space – Hawkwind

 

 

Pawn Hearts - Van Der Graaf Generator

 

 

Meddle – Pink Floyd

 

 

Nursery Cryme – Genesis

 

Camembert Electrique – Gong

 

 

 

The Inner Mounting Flame – Mahavishnu Orchestra

 

Gila-Free Electric Sound - Gila

 

 

Fragile – Yes

 

 

 The Results:

Death Walks Behind You – Atomic Rooster	2	[1.47%]
The Polite Force – Egg	2	[1.47%]
The Yes Album – Yes	10	[7.35%]
In The Land Of Grey And Pink – Caravan	8	[5.88%]
Aqualung – Jethro Tull	9	[6.62%]
Tarkus - Emerson Lake & Palmer	8	[5.88%]
Ash ra Tempel - Ash ra Tempel	2	[1.47%]
In Search Of Space – Hawkwind	1	[0.74%]
Pawn Hearts - Van Der Graaf Generator	19	[13.97%]
Meddle – Pink Floyd	11	[8.09%]
Nursery Cryme – Genesis	32	[23.53%]
Camembert Electrique – Gong	2	[1.47%]
The Inner Mounting Flame – Mahavishnu Orchestra	4	[2.94%]
Gila-Free Electric Sound - Gila	1	[0.74%]
Fragile - Yes	20	[14.71%]
OTHER (specify in post)	5	[3.68%]

 

 

There were more choices for other than previous polls and these were the choices specified, some with multiple votes:

 Tago Mago - Can

 

 

 First Utterance - Comus

 

 

 

And a list of alternatives was posted:

Spirogyra - St. Radigunds

 

Matching mole - self titled

 

Strawbs - From the witchwood

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King Crimson - Islands

 

Gentle Giant - Acquiring the taste

 

Samla mammas mannas - self titled

 

 

AND THE WINNER IS...

Nursery Cryme – Genesis

 

 

My Review:

 

***** A pandora's box of prog delicacies; Mother Goose laid the Golden Egg

Third time for Genesis and they finally got it right. Everything that was great about "Trespass", namely their classic album closer 'The Knife' was captured on every track. "Nursery Cryme" is the first Genesis masterpiece and what an incredible improvement it is from the first two albums; the band hit their peak with amazing compositions such as 'Musical Box' and 'Seven Stones' or 'Fountain of Samalcis'. The Genesis lineup here is the most revered with Gabriel, Rutherford, Banks, Collins and Hackett. The production is wonderful with intricate mixing of instrumentation and Gabriel's vocals are kept back blended in with the music rather than overbearing as on "Trespass". Each track tends to create an atmosphere and tell a story that is captured by the beautiful iconic cover illustration that is an enigmatic collage of all things Genesis.

'Musical Box' is a marathon of dark and light shades, a consistent pulling of tension and release, with musical virtuoso as never before heard by the band. 'Musical Box' is a dynamic exploration of symphonic pomp prog. They are undisputed on this track and it remains one of the all time treasured masterpieces of Genesis and indeed prog history. The chord progressions are intricately executed with a dozen or so melodies and time sigs pastiched over one another to create a soundscape montage. Gabriel pleads, "Play me Old King Cole, That I may join with you, All your hearts now seem so far from me, It hardly seems to matter now.... Play me my song, here it comes again". The references to Lewis Carroll echo the album artwork, and there are huge dollops of black humour and an enchanting Gothic mystical fragility. The flute is sweet and beautiful, and it plays over a dark tirade of Rutherford's heavy bass and Hackett's guitar. Gabriel is pastoral with flute and gentle vocals for the first section and then it builds to the dramatic blast of fire that explodes and rains down over shadowy volcanoes of molten mellotron. The time sig changes as a swell of organs and Hackett shines in the lead break, the sound cascades down from speaker to speaker teasing the ears, like an aural torture device. Then it settles as the 'Old King Cole' nursery rhyme is sung. It could be pretentious but it sounds moody and serious. Gabriel gets intimate on, "The clock tick tock on the mantelpiece and I want you to feel... and I know how to touch the wall." The music detonates into huge bombastic phased organ waves that crash down on the beach as a thunderclap of drums and bass blast the hemispheres. It lulls into an unnerving quiet guitar picking as the vocals state, "she's a lady and she's got time, brush back your hair, and let me get to know your flesh." The church pipe organ presents a religious feel and the drums tend to build and then a huge swell of pipe organ drowns out Gabriel begging us to touch him now. This completes an absolute blitz of song structures within songs and it coincides with the final paroxysm of energy from Hackett and Banks trading off perfectly with stop start ruptures of sound. This track is, in a word, unparalleled.

'For Absent Friends' is a short ballad or transition between two brilliant tracks. Phil Collins takes the driver's seat with warm vocals as lead singer in a prophecy of his later involvement when he would transform the sound of Genesis. The lyrics are full of religiosity, and obscure twisted dogma; "Inside the archway the priest greets them with a courteous nod. He's close to God. Looking back at days of four instead of two. Years seem so few. Heads bent in prayer for friends not there." It makes a nice resting place for tranquillity and a stream of calm waters before the storm rages.

The clouds of thunder roll as 'Return of the Giant Hogweed' crashes in. It begins with a mesmirising angular riff and then the wondrous chord structure to signal in the verse; "Turn and run, Nothing can stop them, Around every river and canal their power is growing. Stamp them out, We must destroy them. They infiltrate each city with their thick dark warning odour" . Gabriel is passionate and sneering as he belts out the verses and utters chilling warnings such as, "Waste no time, They are approaching. Hurry now, we must protect ourselves and find some shelter, Strike by night, They are defenceless. They all need the sun to photosensitize their venom." Only Genesis could include words like 'photosynthesize' in their lyrics. The Hammond sounds are articulated by bursts of energy ignited from Hackett's blazing guitar. It lulls in to a quiet passage that builds gradually into a heavy riff. The time sigs are all over the place and consistently change in this exploration of progression. There is a repeated pattern of song structure verse to verse and the instrumentation finally drives into a break with some complex patterns with flute, organ, corrosive fuzz bass and striking guitar in a fractured musicscape. The piano chimes in as all goes quiet and the threat of more chaos is imminent. There is a lovely keyboard solo here with a quirky rhythm and distorted lead guitar. The melody is transformed into dark textures and the sound becomes aggressive and more intense. The threat of the music is echoed by the threat of the Giant Hogweed on it's spiteful quest for revenge against the human race. The nightmarish imagery taken from a B grade sci fi movie perhaps, is perfect fodder for Gabriel to showcase his theatrical abilities; "Botanical creature stirs, seeking revenge. Royal beast did not forget. Soon they escaped, spreading their seed, preparing for an onslaught, threatening the human race." In concert of course he would have a ball dressing up as botanical semi-crustaceous metamorphosed lunatic creature and he reveled in the unreality of his psychotic altered universe. The music mimics the horror tale alarmingly, even to the point of retelling its own story with funeral marches and music hall waltzes, a sound of ridiculed terror. Looming metrical changes make dark clouds cover the landscape with shadowy clouds as we draw to a close this masterful piece of music.

'Seven Stones' has lovely melodic passages with Gabriel taking control over the thickly layered organ and guitars. The music is allowed to breathe as instruments die down and a piccolo sound is heard and Gabriel on flute. His story telling qualities are exemplary on this track; "Tinker, alone within a storm, And losing hope he clears the leaves beneath a tree, Seven stones Lay on the ground." As the song progresses Gabriel tells the strange tale of the "Sailors, in peril on the sea" and "The Captain turns the boat" and the "Farmer, who knows not when to sow" . It is a nursery style again in line with the thematic title. This song truly grows on you with each listen, especially the wordless chorus sections. The way the vocals augment the music is incredible and the instrumental break here is alight with sweeping mellotron creating an uplifting atmosphere that dominates and builds higher into the clouds to meet the sun rays of very emotional string orchestrated sounds. It is a majestic quality that only Genesis can maintain. The mellotron ends this and the final product is one of the most beautiful Genesis classics.

There is still a tongue in cheek thread on songs such as 'Harold The Barrel' which paved the way for such storytelling epics as 'Supper's Ready'. The honky tonk piano will remind one of ELP's 'The Sheriff', equally out of place as this. Gabriel is delightful as he shoves it up the suits of an organised criminal inquest. A "Bognor restaurant-owner disappeared early this morning" and the hunt is on giving Gabriel license to channel all sorts of whimsical characters, such as the Man-in-the-street who suggests "it's disgusting, Such a horrible thing to do, Harold the Barrel cut off his toes and he served them all for tea..." It would be crude if not for the biting satirical delivery. Gabriel is truly sardonic on lines such as "You can't last long, Said you couldn’t trust him, his brother was just the same." Gabriel continues to mock the stereotypes of autocracy and Harold's demise is never determined but we hear from his wife, the man on the spot, man on the council, lord mayor and the ridiculous Harold who states "If I was many miles from here, I'd be sailing in an open boat on the sea, Instead I'm on this window ledge..." Will he jump? We never find out. This is reminiscent of all the Gabriel fuelled parodies on the English idyll, no longer a pastoral pastiche but a worldly attack on how the English behave; even with mocking phrases, "we can help you... you must be joking, take a running jump" , Gabriel sneers. It reminds me of 'Willow Farm' section of 'Supper's Ready' or especially 'Get 'em Out by Friday'.

'Harlequin' is more like the pastoral folky feel of "Trespass", a style that would be shed completely as the band matured thankfully as they were always better heavy and bombastic with Gabriel unleashing his fury and antagonism. Here Gabriel is withdrawn and gentle and harmonious with other voices blending in a dreamy way. The lyrics are sugar sweet and balladic but there is an edge that things are surreal and dreamlike. "harlequin, harlequin, Dancing round three children fill the glade, Theirs was the laughter in the winding stream, and in between. From the flames in the firelight." If this were not so short I would have thought it would feel like a filler or throwaway but it is a nice change in direction. I would not rate it as a highlight but there is nothing wrong with some acoustic picking and harmonies from Genesis occasionally in small doses.

'Fountain of Samalcis' is another outstanding track and begins with a beautiful volume swell of mellotron ominously building like a jet plane swooping past, perhaps like a fountain rising and falling. Gabriel tells the weird surreal story and the track builds with glorious mellotron orchestrated in a symphonic crescendo by Banks. The story is a retelling of the Greek myth about an Hermaphrodite and yet it is captivating to reinvent the age old tale, a musical theatrical powerhouse. Gabriel brings the story to life with his excellent vocal prowess, perfection of intonation and pronounced tone that is stirring and evocative; "As the dawn creeps up the sky, The hunter caught sight of a doe. In desire for conquest, He found himself, within a glade he'd not beheld before... Where are you my father, Then he could go no farther, Give wisdom to your son, Now lost, the boy was guided by the sun". The violining of Hackett's guitar is masterful and he plays some angular riffs in this that are repeated as a hypnotic motif camouflaged by Banks soft key pads. Gabriel chimes in with "as he rushed to quench his thirst... A fountain spring appeared before him And as his heated breath brushed through the cool mist, A liquid voice called Son of gods, drink from my spring" . The bassline is notable of Rutherford. An interlude of soaring guitar ensues, with strong rhythmic shapes from Collins on percussion, a strange brew of bombastic glory. The bassline pulses stronger and some cathedral pipe organ is heard. I love this part and it continues to build to the next verse and the music answers Gabriel in turn. Pipe organ flourishes follow and a staccato organ that sweeps across a layer of frenetic bass and chaotic drumming. It fades for a time and builds with the huge organ swells like sunlight bursting through dark clouds, rays of light across the horizon. There is a grand finale with simmering elegance that shoots rays of light at the end to culminate in an apocalyptic crescendo. Masterpiece track to complete a masterpiece album.

In conclusion, ladies and gentlemen this is a classic legendary album that raised the bar for 70s prog, and subsequently this led to "Foxtrot" and "Selling England By the Pound" which are even better by comparison. Genesis were at the peak of their powers with this lineup and they were to enjoy some incredibly prolific years in the music scene until the final decision for Gabriel to seek out greener pastures. The grass has never been greener though with the 70s Genesis sound; an indelible trademark style and a lineup that could be termed as lightning in a bottle.

 

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Part 6:Prog Poll through the years 1972

Top 15 - Here is the prog poll for definitive albums of 1972.

An amazing selection with new bands absolutely dominating the prog scene and legends releasing masterpieces never bettered. This was ridiculously hard to come up with only 15 but here they are:

Banco Del Mutuo Soccorso – Banco Del Mutuo Soccorso

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Per Un Amico – Premiata Forneri Marconi

 

 

Uomo Di Pezza – Le Orme

 

 

Lady Lake - Gnidrolog

 

 

Argus – Wishbone Ash

 

Poll Choice	Votes	Poll Statistics
Banco Del Mutuo Soccorso – Banco Del Mutuo Soccorso	2	[1.67%]
Neu! - Neu!	1	[0.83%]
Waterloo Lily – Caravan	0	[0.00%]
Thick As A Brick – Jethro Tull	20	[16.67%]
Space Shanty - Khan	3	[2.50%]
666: Apocalypse of St John – Aphrodite’s Child	3	[2.50%]
Darwin! – Banco Del Mutuo Soccorso	3	[2.50%]
Three Friends - Gentle Giant	2	[1.67%]
A Tab In The Ocean – Nektar	4	[3.33%]
Close To The Edge – Yes	47	[39.17%]
Foxtrot – Genesis	23	[19.17%]
Per Un Amico – Premiata Forneri Marconi	1	[0.83%]
Uomo Di Pezza – Le Orme	2	[1.67%]
Lady Lake – Gnidrolog	1	[0.83%]
Argus - Wishbone Ash	1

 

 

I had to remove Others option as I made an error. However there were a few suggestions:

The Moody Blues’ Seventh Sojourn

 

Agitation Free’s Malesch

 

 

Herbie Hancock's Crossings

 

 Jean-Claude Vannier's L'enfant assassin des mouches

 

 

William Sheller's Lux Aeterna

 

 

Uriah Heep’s Demons & Wizards

 

 

 

AND THE WINNER IS...

The WINNER IS by a huge margin:

Close To The Edge – Yes

 

 

 My Review:

***** 'Close to the Edge' is one of the greatest albums of all time.

It features the showpiece title track that spans the entire vinyl length of side one, a masterstroke in its day that was repeated by many prog artists and continues to be used to this day, notably Mars Volta, Dream Theater, and Spock's Beard. 'Close to the Edge' centers on the them of getting as close as possible to enlightenment toward a cosmic consciousness and suggests in order to achieve this we must break free of the cycle of the social system that causes turmoil. This theme is based on Hesses' 'Siddhartha', a favourite of Jon Anderson's. The journey from materialism to spiritualism is captured by the use of sparse orchestral arrangements, featuring primarily Wakeman's organ phrases and the spacey guitar of Steve Howe. These minimalist feminine sections are augmented by the masculine rock sections balancing out the quieter moments. The multi-movement suite shifts metrical patterns throughout and climaxes with the huge wall of sound that is essential Yes. There is a wonderful blend of pipe organ and Moog synthesiser building to a crescendo. The sonata form structure is powerfully realised, utilising an opening theme, transition, a second theme, and a final closure. Mozart put to rock. The track is captured perfectly on live performance from 'Yessongs' and 'Symphonic'. Both pieces are masterfully executed.

'And You and I' is my favourite Yes track, after 'Starship Trooper', and it balances out the epic and the last track perfectly. It begins with the beautiful acoustic vibrations of Howe, a real beauty that meanders like a flowing stream. Then we are thrown over the waterfall as the majestic wall of keyboards bursts through like sun bursting through dark clouds. The vocals are simply awesome throughout. The next section allows the mini epic to breathe and changes a new direction that keeps the metronome working overtime with changes in time signatures. Then the last movement is the apocalypse which is a soundwave of multi-layered textures and nuances. This is absolutely incredible music and the live experience captured on 'Tsongas' DVD sends chills down my spine everytime as the gold lights hit the audience and they stand in ovation as Anderson raises his arms like some demi god.

The final track is also excellent; the hard rocking 'Siberian Khatru' that features excellent guitar riffs and that pounding Wakeman motif with chaotic punctuation.

3 tracks of utter brilliance, this is an album that stands the test of time.

 

Part 8: Prog Poll through the years 1974

Top 15 - Here is the prog poll for definitive albums of 1974.

An undisputed golden year of prog with incredible albums unprecedented in prog history. Really getting hard now but this is a good list to go by I think:

Starless and Bible Black – King Crimson

The World Became The World - Premiata Forneria Marconi

Hatfield And The North - Hatfield And The North

Mirage – Camel

Hamburger Concerto – Focus

Welcome Back My Friends... Emerson Lake & Palmer

Köhntarkösz – Magma

You – Gong

Hall Of The Mountain Grill - Hawkwind

Red – King Crimson

The Power And The Glory – Gentle Giant

Red Queen To Gryphon Three – Gryphon

The Lamb Lies Down On Broadway – Genesis

Relayer – Yes

Crac! – Area

The results:

Poll Choice	Votes	Poll Statistics
Starless and Bible Black – King Crimson	2	[1.69%]
The World Became The World - Premiata Forneria Marconi	2	[1.69%]
Hatfield And The North - Hatfield And The North	3	[2.54%]
Mirage – Camel	14	[11.86%]
Hamburger Concerto – Focus	2	[1.69%]
Welcome Back My Friends... Emerson Lake & Palmer	3	[2.54%]
Köhntarkösz – Magma	3	[2.54%]
You - Gong	2	[1.69%]
Hall Of The Mountain Grill - Hawkwind	2	[1.69%]
Red – King Crimson	21	[17.80%]
The Power And The Glory – Gentle Giant	5	[4.24%]
Red Queen To Gryphon Three – Gryphon	1	[0.85%]
The Lamb Lies Down On Broadway – Genesis	27	[22.88%]
Relayer - Yes	26	[22.03%]
Crac! – Area	2	[1.69%]
OTHER (specify in post)	3

There were others many thought to include:

 Crac! by Area was supposed to be in the next year's poll but was listed on another website that I cannot trust now... Oh well it did not stand a chance anyhow.

L'Isola Di Niente – Premiata Forneri Marconi (it’s the Spanish Original Version of the one in the poll)

Hero And Heroine – The Strawbs

Crime of the Century – Supertramp

Queen II - Queen

Well it was a stalemate = A mexican face off between

and King Crimson were nipping at their heels too

what a year in prog

Finally it all came down to one vote!

Vinyl side one
1. "The Lamb Lies Down on Broadway" – 4:55
2. "Fly on a Windshield" – 2:47
3. "Broadway Melody of 1974" – 1:58[5]
4. "Cuckoo Cocoon" – 2:14
5. "In the Cage" – 8:15
6. "The Grand Parade of Lifeless Packaging" – 2:45

Vinyl side two
1. "Back in N.Y.C." – 5:49
2. "Hairless Heart" – 2:25
3. "Counting Out Time" – 3:45
4. "The Carpet Crawlers" – 5:16
5. "The Chamber of 32 Doors" – 5:44

Vinyl side three
1. "Lilywhite Lilith" – 2:40
2. "The Waiting Room" – 5:28
3. "Anyway" – 3:18
4. "Here Comes The Supernatural Anaesthetist" – 2:50
5. "The Lamia" – 6:57
6. "Silent Sorrow in Empty Boats" – 3:06

Vinyl side four
1. "The Colony of Slippermen (Arrival - A Visit to the Doktor - Raven)" – 8:14
2. "Ravine" – 2:05
3. "The Light Dies Down on Broadway" – 3:32
4. "Riding the Scree" – 3:56
5. "In the Rapids" – 2:24
6. "It" – 4:58

My Review  :

  **** Review #536

Runner up by one vote is:

Relayer - YES

 

My Review:

More polls being posted tomorrow. I have just collated some interesting results 

Part 10: Prog Poll through the years 1976

Top 15 - Here is the prog poll for definitive albums of 1976.

Legendary prog artists released some of their best material in 1976 that are still hailed as masterpieces today. A much easier choice in comparison to other polls as it comes down to these:

 

A Trick Of The Tail – Genesis

 

2112- Rush

 

Chocolate Kings - Premiata Forneria Marconi

 

Recycled – Nektar

 

Still Life - Van Der Graaf Generator

 

Interview – Gentle Giant

 

Moonmadness – Camel

 

Live At Carnegie Hall – Renaissance

 

Olias Of Sunhillow – Jon Anderson

 

L - Steve Hillage

 

World Record - Van Der Graaf Generator

 

Leftoverture – Kansas

 

All the World’s A Stage - Rush

 

Dawn – Eloy

 

Clowns & Clouds – Hoelderlin

 

 The Results:

 

Poll Choice	Votes	Poll Statistics
A Trick Of The Tail – Genesis	29	[26.13%]
2112 - Rush	18	[16.22%]
Chocolate Kings - Premiata Forneria Marconi	2	[1.80%]
Recycled – Nektar	2	[1.80%]
Still Life - Van Der Graaf Generator	19	[17.12%]
Interview – Gentle Giant	1	[0.90%]
Moonmadness – Camel	11	[9.91%]
Live At Carnegie Hall – Renaissance	1	[0.90%]
Olias Of Sunhillow – Jon Anderson	2	[1.80%]
L - Steve Hillage	2	[1.80%]
World Record - Van Der Graaf Generator	2	[1.80%]
Leftoverture – Kansas	13	[11.71%]
All the World’s A Stage - Rush	1	[0.90%]
Dawn – Eloy	3	[2.70%]
Clowns & Clouds - Hoelderlin	0	[0.00%]
OTHER (specify in post)	5	[4.50%]

Some others chosen as usual including:

Book Of Invasions – Horslips

Return to Forever - Romantic Warrior

New Age of Earth - Ash ra Tempel

Udu Wudu – Magma

Osorezan/ Dou no Kenbai - Geinoh Yamashirogumi

Genesis and VDGG were dead even with Rush nipping at their heels for a while, then there was a blitz of votes for the eventual winner:

 GENESIS

My Review:

Part 11: Prog Poll through the years 1977

Top 15 - Here is the prog poll for definitive albums of 1977. In the year punk tried to kill off prog, there were still some treasures but as you can see the list of classics was thinning out.

Wind & Wuthering – Genesis EDIT: (1976) release officially

Animals – Pink Floyd

Songs From The Wood – Jethro Tull

Ocean - Eloy

Rockpommel's Land – Grobschnitt

Quark, Strangeness and Charm – Hawkwind

Jet Lag - Premiata Forneria Marconi

Oxygene - Jean Michel Jarre

Enigmatic Ocean – Jean Luc Ponty

The Quiet Zone / The Pleasure Dome – Van Der Graaf

A Farewell To Kings – Rush

Seconds Out – Genesis

Rare Birds - Hoelderlin

Elegant Gypsy- Al Di Meola

Playing The Fool Live – Gentle Giant

Wind and Wuthering is a 1976 album I discovered, another case of being told incorrect info on a website. Very annoying. But Animals still way ahead.

 

The Results:

 

Wind & Wuthering – Genesis	17	[14.05%]
Animals – Pink Floyd	41	[33.88%]
Songs From The Wood – Jethro Tull	12	[9.92%]
Ocean - Eloy	5	[4.13%]
Rockpommel's Land – Grobschnitt	2	[1.65%]
Quark, Strangeness and Charm – Hawkwind	2	[1.65%]
Jet Lag - Premiata Forneria Marconi	0	[0.00%]
Oxygene - Jean Michel Jarre	1	[0.83%]
Enigmatic Ocean – Jean Luc Ponty	2	[1.65%]
The Quiet Zone / The Pleasure Dome – Van Der Graaf	1	[0.83%]
A Farewell To Kings – Rush	20	[16.53%]
Seconds Out – Genesis	6	[4.96%]
Rare Birds - Hoelderlin	1	[0.83%]
Elegant Gypsy- Al Di Meola	1	[0.83%]
Playing The Fool Live – Gentle Giant	3	[2.48%]
OTHER (specify in post)	7	[5.79%]

 

As usual a lot of posts requested other albums for the best choices and here are some of them:

Forse Le Lucciole Non Si Amano Piu - Locanda Delle Fate

National Health - National Health

Univers Zero – 1313

 

Going For The One – Yes

There was a good fight from Rush in second place but the overall vote was obvious:

Animals – Pink Floyd

My Review:

****Pigs Might Fly, Impossible and Preposterous, but Pink Floyd Makes It A Reality

"Animal Farm" by George Orwell states, "all animals are equal, but some are more equal than others. Pink Floyd were inspired by the thematic content of the novel, an anthropomorphic socio political saga of looking at the world differently; perhaps politically it only applies to the politics of the day, however this biting satire could apply to the politics of today. In Water's conceptualisation in this world you are either a pig, a sheep or a dog. Dogs are the corporate predators that have a no compromise attitude, are devilishly cunning and run in packs with survival at the top of their highest priority. 'Dogs' is the best track on this album taking up almost the entire side one of the vinyl at about 17 minutes, it has some of the most searing guitar that David Gilmour has played in his career. The lead solos are highly emotive ranging from soft, gentle and mellow to frenetic and aggressive. The lyrics are poetic and absolutely encapsulating, "I gotta admit that I'm a little bit confused. Sometimes it seems to me as if I'm just being used. Gotta stay awake, gotta try and shake off this creeping malaise. If I don't stand my own ground, how can I find my way out of this maze?". It is a mesmirising song, with melancholy vocals and exciting synthesiser from Wright, some of his best material is captured on this album, which could be viewed as almost a paean to his genius; RIP Richard.

The album is bookended by 'Pigs On The Wing' which has a memorable Waters vocal and soft acoustics. The pigs on this concept album are of course the tyrannical moralists who are motivated by power, that corrupts absolutely as usual, and they have the ability to go to the top of the hierarchical ladder despite who they tread on to get there, but it's lonely at the top. They are focussed to impose their estranged worldview on the other animals. The story is one of corruption with all its negativity, and deception, that will ultimately drag the antagonist to their doom. The tracks are best heard as part of the whole rather than as separate entities, they work well as bookends, and I count them as part of the lengthy tracks that require these short pieces to make sense.

Moving on to other pigs, there are three different ones that are visualised in the surreal 11:30 track that has some very nice melodies, and mordant lyrics; "Hey you, Whitehouse, Ha ha, charade you are. You house proud town mouse, Ha ha, charade you are, You're trying to keep our feelings off the street. You're nearly a real treat, All tight lips and cold feet, And do you feel abused?" Of course this was Waters attack on Mary Whitehouse, self confessed moralist of the British public who had committed some onslaught on Pink Floyd for their stage antics and lyrical nature. Waters' literally spat at a fan on the DSOTM tour which made headlines and of course led to the inspiration of "The Wall" stage show where a giant wall between the band and the audience was erected. Interestingly enough, much of the music on "Animals" was already written and performed on the DSOTM tour; 'Dogs' was known as 'You Gotta Be Crazy' and 'Sheep' was actually titled 'Raving and Drooling'. I am kind of glad they changed those titles.

So who are the three different pigs on Pigs (three different ones)? It is no secret among Floydians that pig 1 was the business pig, the lying, cheating, thieving fat suit that deceives their way to the top of the business rung; pig 2 is the politician, Thatcher at the time, who had already, along with Whitehouse, copped a heap from UK TV on "The Goodies"; and pig 3 was Mary Whitehouse, as has been mentioned, who was scared witless that the British public were being perverted.

The concept was further enhanced with the iconography of the album, the enigmatic pig flying above the smoke stacks of Battersea Power Station became an image of the band never to be forgotten. Pink Floyd literally got a pig to fly when the ropes gave way and the pig sailed in to the heavens; perhaps a fitting tribute to the band bucking against the pigs of the music industry that were jumping on the punk band wagon.

The fatalistic concept always works for Pink Floyd as it echoes the bleak psychedelic music, but there is a real sense on "Animals" of a ray of hope, the way Gilmour plays with those uplifting chords and melodic notes, Wright's soaring keyboard swoops, Waters' pulsating bass, and Mason's exceptional percussion embellishments; you could not get better than the virtuoso genius of this lineup. However, I always felt that "Animals" was one of the darkest Pink Floyd adventures primarily due to 'Sheep'. There is a section in this track that disturbs me everytime and it is the part where a very doomy synth is heard and a voice over narration. It is almost subliminal but if you listen closely you can hear a parody of The Lord's Prayer with a nasty twist; "With bright knives He releaseth my soul. He maketh me to hang on hooks in high places. He converteth me to lamb cutlets, For lo, He hath great power, and great hunger..." The sheep are the passive followers, docile and innocent, the common man, headed for the slaughterhouse to be chopped into little pieces (reminiscent of 'One of These Days'), exploited by the dogs and pigs. The exploitation continues until the sheep rebel and rise up against the oppressors only to be exploited again, a vicious cycle. In a sense Pink Floyd themselves. The sheep in the novel gain a consciousness when they see the corruption of the rich corporations, and they rebel, as Pink Floyd rebelled against the trash music of the late 70s by producing music like this. Of course the irony is the communists could never do such a thing or they would be slaughtered too, and Pink Floyd are well aware of these ironies, even making fun of themselves, after the incredible success of "DSOTM" and "WYWH". They had to face these corporations who wanted a piece of them too. The band had already touched on this theme on "WYWH" especially, 'Have A Cigar' The 'communist' record companies wanted the band to conform to the music of the day; they refused and the result was "Animals".

To conclude every part of this album is equally important to the rest. The music is lengthy, complex and houses a framework of some of Waters most scathing attacks on the music business and politics. When I first heard this on vinyl as a teen I just did not get it. I was confused by the high concept, the visuals puzzled me, and it is nothing like "DSOTM" at all, or "WYWH", except it was sandwiched in between "WYWH' and 'The Wall" as a transition to both, and I think a lot of us were expecting something akin to the previous masterpieces, which it is not. However, I listen to this today and it jolts me every time. The concept is Orwellian, the music is psych and symphonic prog, the vocals are exquisite, and this album paved the way for the grand concept masterpiece of "The Wall".

Part 12: Prog Poll through the years 1978

Top 15 - Here is the prog poll for definitive albums of 1978.

Prog was in trouble after punk reared its ugly head and then the dreaded disco.... but still there were excellent albums and a lot of solo artists made an impact.

A Song For All Seasons – Renaissance

U.K. – U.K.

Heavy Horses – Jethro Tull

Vital - Van Der Graaf

Breathless – Camel

Tormato – Yes

Hemispheres – Rush

Wise After The Event – Anthony Phillips

Green - Steve Hillage

Please Don't Touch – Steve Hackett

Solar Music Live - Grobschnitt

Anabelas – Bubu

Zappa In New York – Frank Zappa

The Man Machine – Kraftwerk

The War of the Worlds – Jeff Wayne

The Results:

A Song For All Seasons – Renaissance	3	[2.78%]
U.K. – U.K.	13	[12.04%]
Heavy Horses – Jethro Tull	17	[15.74%]
Vital - Van Der Graaf	1	[0.93%]
Breathless - Camel	2	[1.85%]
Tormato – Yes	4	[3.70%]
Hemispheres – Rush	39	[36.11%]
Wise After The Event – Anthony Phillips	0	[0.00%]
Green - Steve Hillage	2	[1.85%]
Please Don't Touch – Steve Hackett	3	[2.78%]
Solar Music Live - Grobschnitt	6	[5.56%]
Anabelas – Bubu	5	[4.63%]
Zappa In New York – Frank Zappa	4	[3.70%]
The Man Machine – Kraftwerk	1	[0.93%]
The War of the Worlds – Jeff Wayne	5	[4.63%]
OTHER (specify in post)	3	[2.78%]

There were others chosen in this year for prog:

Escenes – Gotic

Casino - Al Di Meola

Of Queues and Cures - National Health

Manna/Mirage - The Muffins

Xitintoday - Nik Turner

And there was a long list posted too, among those not already listed were:

Akkerman, Jan    Live - Montreux Jazz Festival
Brand X    Masques
De Grassi, Alex    Turning: Turning Back
Dixie Dregs    What If
Eno / Moebius / Roedelius    After The Heat
Eno, Brian    Ambient 1 Music For Airports
Eno, Brian    Music for Films
Gabriel, Peter    II
Genesis    ...and then there were three...
Gong    Expresso II
Hampton, Col. Bruce    One Ruined Life Of A Bronze Tourist
Happy the Man    Crafty Hands
Joachim Kuhn Band    Sunshower
Johnson, David Earle    Time Is Free
Kansas    Two For The Show
Lloyd Webber, Andrew    Variations
Mangione, Chuck    Live at the Hollywood Bowl
Manzanara, Phil    K-Scope
Metheny, Pat    New Chataqua
Metheny, Pat Group    Pat Metheny Group
Oldfield, Mike    Incantations
Oldfield, Sally    Water Bearer
Oregon    Out of the Woods
Phillips, Anthony    Sides
Phillips, Anthony    Wise After the Event
Ponty, Jean-Luc    Cosmic Messenger
Synergy    Cords
Talking Heads    More Songs About Buildings and Food (Remaster)
Wilding/Bonus    Pleasure Signals
XTC    Go 2
Zappa, Frank    Studio Tan

Well, this was a killing as Rush simply destroyed any competition:

 RUSH

Part 13: Prog Poll through the years 1979

Top 15 - Here is the prog poll for definitive albums of 1979.

1979 was a difficult year for prog with the upsurgeance of dancing and disco, it was pushed aside, and yet there were brilliant albums as you can see from this list.

Force Majeure – Tangerine Dream

http://www.progarchives.com/album.asp?id=2482" rel="nofollow - - Atlas

 

Correlations – Ashra

 

Heresie - Univers Zero

 

Danger Money – U.K.

 

Sides – Anthony Phillips

 

Rainbow Dome Musick – Steve Hillage

 

Western Culture – Henry Cow

 

Spectral Mornings – Steve Hackett

 

One Of A Kind – Bruford

 

Arthur Brown & Vincent Crane - Faster then the Speed of Light

 

Stormwatch – Jethro Tull

 

A Curious Feeling – Tony Banks

 

Platinum - Mike Oldfield

 

The Wall – Pink Floyd 

 

 

The Results:

 

 

Force Majeure – Tangerine Dream	5	[4.63%]
Blå Vardag - Atlas	1	[0.93%]
Correlations – Ashra	0	[0.00%]
Heresie - Univers Zero	5	[4.63%]
Danger Money – U.K.	6	[5.56%]
Sides – Anthony Phillips	0	[0.00%]
Rainbow Dome Musick – Steve Hillage	2	[1.85%]
Western Culture – Henry Cow	2	[1.85%]
Spectral Mornings – Steve Hackett	12	[11.11%]
One Of A Kind – Bruford	8	[7.41%]
Arthur Brown & Vincent Crane	1	[0.93%]
Stormwatch – Jethro Tull	4	[3.70%]
A Curious Feeling – Tony Banks	4	[3.70%]
Platinum - Mike Oldfield	1	[0.93%]
The Wall – Pink Floyd	51	[47.22%]
OTHER (specify in post)	6

Others that were chosen:

 

 

Silent cries and mighty echoes - Eloy

 

Fairy Tales - Mother Gong

4 Visions - Eskaton 

Emmanuel Booz / Dans Quel Etat J'erre  

And there was the obligatory list of alternatives posted:

Anderson, Jon and Vangelis    Short Stories
Banks, Tony    A Curious Feeling
Bowie, David    Lodger
Brand X    Product
Dixie Dregs    Night of the Living Dregs
Fripp, Robert    Exposure
Frith, Fred    Gravity
Gong, Pierre Moerlen's    Time is the Key
Hackett, Steve    Spectral Mornings (Remaster)
Kansas    Monolith
Led Zeppelin    In Through the Out Door
McLaughlin, John-Jaco Pastorius-Tony Williams    Trio of Doom
Metheny, Pat Group    American Garage
Oregon    In Performance
Oregon    Roots in the Sky
Rypdal, Terje    Descendre
Sancious, David    Just As I Thought
Sky    Sky
Synergy    Games
Talking Heads    Fear of Music (Remaster)
U.K.    Night After Night
Vangelis    China
Vangelis    Opera Sauvage
XTC    Drums and Wires
Zappa, Frank    Joe's Garage Acts I, II & III

But there really was no competition. The Wall was crushing the rest from the very beginning. Predictable but deserved.

 

AND THE WINNER IS...

 

 

My lengthy 2,176 word review:

 

***** The story of "The Wall" obsession.

Once upon a time there was a song on the radio and a teenager heard it and it changed his life. My quest for "The Wall" began at an impressionable age. I was 17. Every lyric I have become obsessed with, knowing it off by heart. I thought I was weird walking along humming the tunes and having the lyrics swirl in my teenage brain, but of course everyone in 1982 was talking about it due to the movie release. It seemed to go by unnoticed in 1979 in Australia. Before I get to the music, let me indulge. This is the 531st review so everything has been said anyway so here's a new slant.

I remember sitting in the sound lounge at college and a guy walked in and said you have to hear this. He put on In The Flesh and we sat there at lunch listening intently and seriously. He said these words I will never forget. ""The Wall" is the best album ever! The film is the best film ever! Pink Floyd are the best band ever!" Not exactly ground breaking words but somehow I could not get them out of my head. Now, you have to understand, I had never heard the album or even Pink Floyd but I was willing to give it a go after hearing a few songs I liked. Another Brick in the Wall part 2 was on the radio all the time. The music was excellent to my young ears, the consistent rhythm of Dm clanging on the clean guitar, almost reggae, that was the framework for some enigmatic lyrics "We don't need no education, we don't need no full control" I kind of agreed with that. It was rebellious and comforting at the same time. I liked the ominous vocals, the children choir rebelliously shouting the mantra. It all made perfect sense and there was nothing on the radio like this. The lead guitar solo was incredible, I had never heard a lot of great lead guitar being into the glam rock scene and a hopeless Kiss addict, but this was David Gilmour's guitar; soaring, harmonious and virtuoso guitar work that is unforgettable. It intrigued me and I knew I would eventually own it. These days as a teacher I cringe when I hear "No dark sarcasm in the classroom, teachers leave us kids alone", as that's what I do now!

I bought the single on vinyl in 1982, a re release to cash in on the movie, it was great to hear it pumping out the speakers but I knew I needed more. The B Side was One of my Turns and it was "cold as a razor blade, tight as a tourniquet, dry as a funeral drum...." the freakout section in the instrumental passage was creepy, so emotional and heavy, I was stunned. "Would you like to watch TV or get between the sheets or contemplate the silent freeway..." It was not a popular song to play in front of my parents that's for sure. I wanted to hear the rest. I had to save up big because it was a double album. But hey, I managed it delivering newspapers door to door.

Finally the day came. I walked into the music store and those white bricks screamed off the shelf. There was an entire section with a screaming face and grim teacher and tons of polystyrene bricks. It was a monument to the album. I pulled out the $20 note and grabbed the album. It felt good in my hands. Heavy like gold. "This is so popular," the young girl said behind the counter. I smiled. "I have been wanting this for ages." "Enjoy it", she said. So I bought this off the shelf brand new on vinyl after hearing so much about it in magazines and friends at college.

I raced home, locked my bedroom door and put it on the record player stereo system. The first crashing chord blasted, and then after a divine lengthy intro of choral voice harmonies, Waters estranged voice chimes out, "So you thought you might like to go to the show........" It was love at first listen. I was stunned at how the songs merged together, I had never encountered this on albums, the way it ran together seamlessly like one huge track, this was the first true prog album in my collection. The beginning of my obsession.

Waters is the backbone of the album and Gilmour's soft vocals and intricate guitar breaks are the skeletal structure for me. I always liked his contribution the best including the soft sweet, The Thin Ice, "Mother loves her babe and daddy loves her too...." It just sends a shiver down my spine every time. It is difficult to understand listening to it now as a cohesive work that the band were in turmoil. Rick Wright was eventually ejected from the band by the time the recording sessions ceased. The producer Bob Ezrin actually completed the album in Los Angeles using studio session musicians, can you believe that? Waters wrote, breathed, ate, slept this album; it was his baby and he nurtured it. The script, the concept, the entire screenplay of the burnt out musician was his idea right down to the references to poor old Syd. It is a magnum opus of epic proportions. I know many fans of this album that do not even like Pink Floyd, such is the impact of "The Wall".

The spirit of the album is encapsulated in a series of bonafide highlights that always jump out and bite me on every listen. It was always Gilmour who provided the most glorious tracks including the best track on it; the incredible Comfortably Numb. The low key verses are portentous and foreboding and then that uplifting chorus with vocal techniques that would be emulated by many prog artists especially Mostly Autumn's Josh, "There is no pain you are receding, a distant ship smoke on the horizon... when I was a child I caught a fleeting glimpse out of the corner of my eye, I turned to look and it was gone, I cannot put my finger on it now... " masterful, perfect, unforgettable. The lead guitar solo at the end of this is legendary and I have heard many live versions which are even better with an extended screaming solo section, while a massive chandelier UFO light contraption opens above the audience sending out cascading rays of light upon them. A magic moment.

Run Like Hell is an infamous concert closer for the band. This single begins with those scratching guitar scrapes and then the echoing trademark rhythm that we hear all through the album begins to chug along. The guitar 4 chord shapes to follow have been emulated by guitarists worldwide, and why not? They are fabulous atmospheric riffs. The lyrics were always edgy and dangerous, "Cos if they find you in the backseat trying to pick her locks, they're gonna send you back to mother in a cardboard box, you'd better run!"

Mother "do you think they'll drop the bomb... hush now baby baby don't you cry, mother's going to put all of her fears into you". At the time I had no idea what Waters was on about back in 1982 but since then the song has grown on me, I have even sung it as a lullaby to my kids (an abridged version), and it is a perfect song to learn guitar to with easy G C D F chords and a strong rhythm. Gilmour's guitar break is beautiful and sombre perfectly aligned with the melancholy tone... "Mother did it need to be so high" always troubled me.

Goodbye blue sky has a beautiful acoustic feel and ominous chords as the planes fly overhead, see the animation of Gerald Scarfe to gain full appreciation of this. I love the extended breathtaking line that is said without any breaks; "Did did did did you ever wonder why we had to run for shelter when the promise of a brave new world unfurled beneath a clear blue sky". I always sung that with a huge breath at the beginning. I loved the feel of this song and still count it as the best song on side 2.

Empty spaces is fabulous but there is a longer better version on the film with a crunching rhythm and lead solo.

Don't leave me now always resonated with me, I could sense the sheer hopelessness and it still has the same ethereal effect on my senses. A very powerful song that captures the sense of a breakup, losing a girl, "I need you babe to put through the shredder in front of my friends..."

Side 3 began with the incomparable acoustic flourishes and Gilmour's soothing warm vocals 'Hey you "out there in the cold getting lonely getting cold can you feel me... out there beyond the wall". A delicate song excised from the film but always has a dear place in my heart.

Is there anybody out there! maybe overlooked by many but that atmosphere is chilling and the acoustic instrumental is melancholy and lovely, almost uplifting. It is the scariest part in the film too, where Geldof shaves, becomes insanely obsessive creating a war scene with rubbish and broken record pieces, and later is found in the asylum by the war torn child. The picture of a total breakdown and burn out.

Nobody home is notable for the cool lyrics, that I like especially "I've got wild staring eyes, and I've got a strong urge to fly, but I've got nowhere to fly to... when I pick up the phone, there'll be nobody home". This is emotional lyrical work at its best. The aftermath of a broken marriage.

Waiting for the worms is another would be throwaway but essential to the whole concept of the dictator rock star with delusions of godhood. "Waiting... to cut off the dead wood, ....to clean out the city, ....to fire the ovens... for the blacks and the jews"; the nazi references are quite astonishing and used to pummel my impressionable ears. It finishes with a huge loud instrumental that builds to a crescendo before "Stop!"

The trial was the most played song when I was a teen, I loved the weirdness of it, the various sections, the characters, especially the ex wife.... "you should've talked to me more often that you did, but no, you had to go your own way, have you broken any homes up lately, just 5 minutes, worm your honour, him and me alone..." It was a rock opera and I was not prepared at the time for such an incredible finale. On stage of course this section is a highlight. I saw it live with a Tribute band and they nailed this song, receiving a standing ovation.

The last song Outside the wall is the weakest and I have no idea what its saying but I always loved the way it finished abruptly. It is strange too that if you want to put the whole album onto a CD you have to leave this last song off or it will not fit. Did Pink Floyd do that on purpose, how would they know?

Pink Floyd's "The Wall" was the first album I truly immersed myself in as a teenager, the concept, the music, the lyrics, the sleeve art; everything captured my young imagination and it has never left my consciousness. I will never forget the incredible impact of hearing actual dialogue on an album, an actual storyline, I had never even dreamed bands would do this. The album was a monster in its day reaching top position on the US charts and it made it to No. 3 in the UK. The filmclip of the Brick single was on so much I got sick of seeing it. In a sense I have become too used to the music on the album and the impact has lessened but there is no denying that this is an epic achievement.

The live performances of the show have become legendary from both the Gilmour Pink Floyd and Water's version. He always went to greater lengths as it was his child, but the Berlin Wall came down and Pink Floyd celebrated with a full rendition of this album that is still one of the century's best ever concerts, featuring a plethora of guest artists. The movie directed by Alan Parker starring Bob Geldof as Pink, arrived in 1982, further enhancing the experience of the album. I persuaded my friend to drive me to the drive in and we sat there absolutely in awe watching the story unfold; a story that I had memorised in my head. It was a moment of clarity for me. I bought the movie lyrics book that has huge colour photos throughout. The images are powerful in any format. The album transcends mere music; like it or loathe it, "The Wall" is a monumental event. If this review hasn't convinced you, nothing will.

 

 

-------------

Part 14: Prog Poll through the years 1980

Top 15 - Here is the prog poll for definitive albums of 1980.

The new era of prog began on shaky ground but still some albums dominated as this list shows.

Permanent Waves – Rush

Peter Gabriel 3

Memento Z Banalnym Tryptykiem - S.B.B.

Drama – Yes

Levitation – Hawkwind

Tangram – Tangerine Dream

A Black Box – Peter Hammill

Colours – Eloy

Defector – Steve Hackett

Q.E.2 – Mike Oldfield

Duke - Genesis  

Silent Night – Saga

The Turn of a Friendly Card – Alan Parson’s Project

http://www.progarchives.com/album.asp?id=3162" rel="nofollow -  Harmonium

Yesshows - Yes

The Results:

Permanent Waves – Rush	33	[38.37%]
3 - Peter Gabriel	9	[10.47%]
Memento Z Banalnym Tryptykiem - S.B.B	5	[5.81%]
Drama – Yes	7	[8.14%]
Levitation – Hawkwind	4	[4.65%]
Tangram – Tangerine Dream	2	[2.33%]
A Black Box – Peter Hammill	1	[1.16%]
Colours - Eloy	3	[3.49%]
Defector – Steve Hackett	2	[2.33%]
Q.E.2 – Mike Oldfield	1	[1.16%]
Duke - Genesis	7	[8.14%]
Silent Night – Saga	0	[0.00%]
The Turn of a Friendly Card – Alan Parson’s Project	2	[2.33%]
Harmonium En Tournée - Harmonium	1	[1.16%]
Yesshows - Yes	4	[4.65%]
OTHER (specify in post)	5	[5.81%]

The Others:

 

Short stories - Jon And Vangelis

 

 

Rainy Sundays...Windy Dreams - Andy Irvine

 

As Falls Wichita, So Falls Wichita Falls - Metheny

 

Rush absolutely dominated the competition:

 

AND THE WINNER IS...

 

 

My Review:

 

 ***** Permanent Waves is the latest album I have purchased of Rush, due to the fact that with my other Rush Cds I had somehow accumulated all but two tracks from this album, at least live versions and some on compilations. However, I am glad I bit the bullet and got hold of this as its an absolute masterpiece and quintessential Rush. It is become one of the top 5 Cds in my Rush collection. The main reason this album works so well as there are no filler tracks. It is a new style of Rush in comparison to previous efforts but it is surprisingly mainstream yet still keeping the aspects of prog.

The first track, 'The Spirit of Radio' was a massive hit for the band and it is easy to see why. It has some of the most endearing and memorable guitar work from Alex Lifeson. Listen to that phased out lead work in the intro, and the way the time signature instantly changes only to kick into a standard 4/4 riff. Geddy Lee's high soprano vocals have never been better and you have to love the lyrics: "Begin the day with a friendly voice, a companion, unobtrusive, plays that song that's so elusive, and the magic music makes your morning mood." This example of crazy alliteration that evokes a quirky sense of humour has defined the Rush sound. The track works effectively as a radio jingle promoting the medium, no wonder it was a top 20 UK hit in 1980, one of the greatest rock singles ever. It even features a startling reggae breakdown towards the end that shouldn't work but Rush makes it work because they are masters of song structure. After the words "Concert hall" we hear a crowd roaring, which really adds to the overall effect of the track. Lifeson's wah wah guitar solo is amazing. A short blast of the opening riff and then it ends abruptly.

The next track 'Freewill' is also a terrific prog track with an excellent melody that stays in your head, notably the melodic chorus "you can choose a ready guide in some celestial voice, if you choose not to decide you still have made a choice." Great stuff and a live favourite. Another notable track and the main reason for my interest in the album was the standout epic 'Natural Science'. It clocks in at a little over 9 minutes and is a type of multimovement suite with variations of light and shade in three sections. I had heard this on the live "Different Stages" but this, the studio version, way outclasses the live version for production value. Wind chimes, tubular bells, atmospherics, jagged guitar riffs and all manner of instruments merge together on this epic to produce one of the finest recordings of the band.

In conclusion, Permanent Waves is an essential purchase and a good starting point for those interested in Rush.

Part 15: Prog Poll through the years 1981

Top 15 - Here is the prog poll for definitive albums of 1981. If I missed any that you believe are essential, place them in other section.

A very difficult year as the prog genre was suffering to stay afloat but still some bands managed to produce great music.

Eros – Dun

Moving Pictures – Rush

Alturus de Machu Picchu – Los Jaivas

Discipline – King Crimson

Between Flesh and Divine – Asia Minor

Planets – Eloy

Computer World – Kraftwerk

Ceux Du Dehors – Univers Zero

Nude – Camel

Worlds Apart – Saga

Exit – Tangerine Dream

1984 – Rick Wakeman

Long Distance Voyager – The Moody Blues

http://www.progarchives.com/album.asp?id=3312" rel="nofollow - - Retrospektïw I-II – Magma

Exit Stage Left - Rush

The Results:

Eros - Dun	6	[5.41%]
Moving Pictures – Rush	48	[43.24%]
Alturus de Machu Picchu – Los Jaivas	1	[0.90%]
Discipline – King Crimson	20	[18.02%]
Between Flesh and Divine – Asia Minor	1	[0.90%]
Planets – Eloy	3	[2.70%]
Computer World – Kraftwerk	3	[2.70%]
Ceux Du Dehors – Univers Zero	5	[4.50%]
Nude – Camel	5	[4.50%]
Worlds Apart – Saga	1	[0.90%]
Exit – Tangerine Dream	2	[1.80%]
1984 – Rick Wakeman	2	[1.80%]
Long Distance Voyager – The Moody Blues	2	[1.80%]
Retrospektïw I-II – Magma	3	[2.70%]
Exit Stage Left - Rush	3	[2.70%]
OTHER (specify in post)	6	[5.41%]

The Others:

Mystical Adventures - JL Ponty

Face Dances -The Who

  

Rush was crushing the competition!!! Expected I suppose, exceptional album.

My Review:

Part 16: Prog Poll through the years 1982

Top 10 - Here is the prog poll for definitive albums of 1982.

The prog genre was still struggling but there were some solid additions to the scene as this list of 10 albums shows. I could not even justify 15 albums on this exceptionally weak year of prog.

Signals – Rush

Peter Gabriel 4

Time To Turn – Eloy

Fact and Fiction – Twelfth Night

Five Miles Out – Mike Oldfield

Enter K – Peter Hammill

Ship Arriving Too Late To Save A Drowning Witch – Frank Zappa

Eye In The Sky – Alan Parsons Project