I'm currently writing a blog about the Nurse With Wound List. Apologies if you know this already, but the list featured on Nurse With Wound's debut album (info here:  http://www.stereogum.com/2057432/the-nurse-with-wound-list-at-40-a-beginners-guide/franchises/sounding-board/" rel="nofollow - http://www.stereogum.com/2057432/the-nurse-with-wound-list-at-40-a-beginners-guide/franchises/sounding-board/ ) and many of the artists included are prog or prog-influenced.

The blog home page is here:  http://they-all-exist.com/" rel="nofollow - http://they-all-exist.com/

It contains links to the four pages I have completed so far, which cover artists such as Agitation Free, Alcatraz, Älgarnas Trädgård, Ame Son, Annexus Quam, Arbete och Fritid, Archaïa and Archimedes Badkar.

Any comments / constructive criticism / identification of errors would be most welcome!

Now, I must get back to Area... 

https://www.youtube.com/watch?v=GExII0ddGRs" rel="nofollow - https://www.youtube.com/watch?v=GExII0ddGRs

Great blog! I just added that as a link to my comprehensive list of the NWW on the Rate Your Music site

http://rateyourmusic.com/list/siLLy_puPPy/ultimate-nurse-with-wound-list/" rel="nofollow - https://rateyourmusic.com/list/siLLy_puPPy/ultimate-nurse-with-wound-list/

This is great - cheers! 

Some good stuff to read there, thanks!

I just came across this, on Amon Düül: "(...) but in the days leading up to the performance, a schism developed between those who wished to maintain inclusivity and those such as Chris Karrer and John Weinzierl who wanted to adopt a more conventional and commercially viable approach. The latter faction became Amon Düül II (...)."

Are you claiming that what ADII did at the time was predictably "conventional and commercially viable"? That'd be a very very bold claim indeed. I'm inclined to go with John Weinzierl on the matter and rather think the schism was between those who wanted to properly devote themselves to music and to seriously improve as musicians, and those for whom music played the second fiddle at best, who were satisfied with fooling around with their bongos a bit, and well did ADII to separate!

I admire your ability to get something appreciable out of ADI's output, however this idea of ADII as "going commercial" doesn't hold water in my view, just because they sold a few albums and geeks like us still know them these days. Surely none of them got even remotely close to getting rich! 

Anyway, I don't mean to criticise you, this is a great blog covering loads of good stuff (also appreciated the thing on AMM); I just thought you ask for discussion so you get it. 

Oh by the way, the ADII bassist following Anderson was Lothar Meid (not Mei), and from what you wroite I think you may like ADII's 2009 album Düülirium, which is some seriously free improvised stuff.

No worries, it's really useful feedback, thanks!

I take your point about ADII, although I did say *more* commercially viable. I wasn't suggesting they were aiming for pop stardom, but their music was certainly more accessible than what came out under the AD name! I'll review how it's phrased, though, it could possibly be clearer.

Mei is a typo, obviously - thanks for spotting - and I'll give Düülirium a go when I get a chance.

Thanks again 

They were more "commercially viable" and "accessible" for the obvious reason that ADI in all likelihood didn't care much for the quality of what they did there, and even if they did, they didn't have the ability to make it work, and contrary to the opinion of some, that's not good for any prospect of selling it.

The interesting question regarding the term "commercial" is whether it was a dominating motivation of ADII to sell their music. I think they wanted to be professional, which implies that somebody needs to pay for it, and in this sense you may have a point. However I don't think they adapted any of their music to any idea of "general taste" or "commercial viability", at least not at the time of Phallus Dei, Yeti, or Tanz der Lemminge. (Actually Düülirium is probably their least commercial work ever; in 2009 they surely didn't need to sell their music anymore to make a living, and you can hear that clearly.)   

Here's post #5: 

https://they-all-exist.com/2020/05/22/nwwl5-are-ash/" rel="nofollow - https://they-all-exist.com/2020/05/22/nwwl5-are-ash/

Area

Art Bears

Gilbert Artman

Arzachel

Robert Ashley

Ash Ra Tempel / Association P.C. / Anton Bruhin / Banten / Biglietto per l'Inferno

http://they-all-exist.com/2020/05/31/nwwl6-ash-big/

http://they-all-exist.com/2020/06/10/nwwl7-bir-bra/

Il Balletto di Bronzo / Franco Battiato / Han Bennink / Steve Beresford / Jacques Berrocal

http://they-all-exist.com/2020/06/29/nwwl8-bal-ber/

http://they-all-exist.com/2020/07/12/nwwl9-bes-bru/

Cheers, much appreciated