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Yes, good point. Rob Townsend is supremely talented. I saw Hackett a couple of years ago, the usual band but with Roine Stolt on bass instead of Nick Beggs. Was a great show!
 
From Kajagoogoo?!

(Nick Beggs on R)

One in the same. Like XTC's Dave Gregory, he is a mainstay in progressive rock in his post new wave career. Nick is the driving force behind a progressive pop-rock band called The Mute Gods and had previously been part of the Christian/Celtic prog band Iona (with whom Fripp guested a few times). He's been Hackett's regular bassist for a number of years.
 
One in the same. Like XTC's Dave Gregory, he is a mainstay in progressive rock in his post new wave career. Nick is the driving force behind a progressive pop-rock band called The Mute Gods and had previously been part of the Christian/Celtic prog band Iona (with whom Fripp guested a few times). He's been Hackett's regular bassist for a number of years.
Say what you will about Kajagoogoo, but the bass parts were all pretty awesome even if the songs weren't great.
 
Nick is the driving force behind a progressive pop-rock band called The Mute Gods and had previously been part of the Christian/Celtic prog band Iona (with whom Fripp guested a few times) .

He's done more than a little u-turn on the Christian thing and The Mute Gods albums are more than a little vitriolic - the latest, third album even more so than before based on some interviews I've recently read. He comes across as quite abrasive at times and there's a thin line between observational critiques and outright ranting.

I think when Hackett goes out this year he'll have Jonas Reingold on bass again, as with the last tour.
 
Say what you will about Kajagoogoo, but the bass parts were all pretty awesome even if the songs weren't great.

I have no harsh words for Kajagoogoo or any early 80s synthpop/new wave/new romantic/whatever. I was a kid who first discovered Dungeons & Dragons (and worse yet, girls) when that kind of music was big. Quite nostalgically fond of it, even if it's not my day-to-day music of choice.
 
He's done more than a little u-turn on the Christian thing and The Mute Gods albums are more than a little vitriolic - the latest, third album even more so than before based on some interviews I've recently read. He comes across as quite abrasive at times and there's a thin line between observational critiques and outright ranting.

I think when Hackett goes out this year he'll have Jonas Reingold on bass again, as with the last tour.

I'm actually glad I don't know most musicians opinions on things (outside of the more obvious ones like Zappa, Kerry Livgren, Rick Wakeman and Roger Waters.)

As for religion, it never even occured to me that he might ever have been so, in spite of knowing the general faith of the band. Maybe the skirt wearing threw me.
 
Here's a gem to greet the migratate forum. Keith Emerson's title theme for the 90s Iron Man cartoon series, part of the Marvel Action Hour.



I remember as I was watching the show way back then thinking it sounded a bit like Keith Emerson before discovering it really was him!

But then prog overlaps nicely with moive scores and other soundtracks. Both fous of composing music rather than writing songs and both draw liberally from all sorts of musical traditions. Emerson himself did the score for one of the Dario Argento movies (I think Inferno?) and ELP Pirates was originally written for the movie Dogs of War. And then of course there is Vangelis and Trevor Rabin for whom their film composer careers are at least as important, if not more, as their prog musician one.
 
Yes, good point to all. Mike Oldfield would be another who was part of both worlds.

Journey's only "prog" album after the arrival of Steve Perry was also a soundtrack album, Dream After Dream.

But then there is Goblin, an RPI band that did soundtracks to horror films. Literally, they had a career of making prog rock for soundtracks.
 
More Magenta because it's Friday.

Back on their debut album, Magenta introduced us to the White Witch. She lives in what seems like a village in 17 century England and is viewed with suspscion and hostility the townfolk. That is, until the plague and suddenly everone needs her herbal remedies. The village is saved, she's accepted by the community at long last, and they lived happily ever after.

Or not. A few laters, in a the following album, Magenta carry on the story of the White Witch in a new sogn. The track opens with a insanely catchy, upbeat guitar riff. Every thing seems to be going well for her now. But as the memory of the plague fades, so does the villagers tollerance and goodwill. Some 10 minutes later (because prog songs take their time) we find the White Witch being burned at the stake by the very same people she saved in the previous album.

Damn, I love prog.

And here it is, from the album Seven, "Lust"
 
As you mention Goblin, the theme for Deep Red (Profondo Rosso) was epic at the time.



The recent film Piercing, an adaptation of a Ryu Murakami novel i.e. the same fellow who wrote Audition, uses this theme and a bunch of other pieces from Giallo soundtracks.

I found Jim Williams soundtrack for the excellent French horror film Raw reminscent of Goblin in spots. Williams has also done the scores for Ben Wheatley’s films.

 
Today I sent away for two more LPs that seem like they should be pretty good:
77927794
 
Number or length of tracks is irrelevant to me. Might get Aqualung someday, but in the meantime can't argue with

or

Some of us don't have 45 minutes to listen on a single song :tongue:
 
Sometimes you make do with a sandwich at the desk or junk food on the go, sometimes you want a proper three course meal, at the table served using the good crockery.
 
Progressive rock is an album-oriented genre anyway. Whether it be A Pleasant Shade of Grey, or Tubular Bells, or A Passion Play, album-long songs are par for the course.
 
Some of us don't have 45 minutes to listen on a single song :tongue:
Some of us make the time. :thumbsup:
Progressive rock is an album-oriented genre anyway. Whether it be A Pleasant Shade of Grey, or Tubular Bells, or A Passion Play, album-long songs are par for the course.
Even with non-prog and non-jazz, I prefer to listen to a record all the way through as the artist intended.
 
I went to see them on their 50th Anniversary tour this time last year. And they still put on a great show.
Me too. I'm a complete Tull-head though. And Aqualung is the only album don't love. Songs from the Wood, Broadsword & The Beast, Warchild,...much better.
 
I caught them (well, they were being billed as Jethro Tull's Ian Anderson, but the current lineup) for the TAAB2 tour. A friend of mine who is a decade younger and more familiar with Alt Rock, was blown away by how "lively" and theatrical the whole performance was.
The theater is nothing compared to what it was. Did love the videos of former band members etc.
 
Jerry Lucky, in his late 90s book The Progressive Rock Files, used the term Big Six to describe Yes, Genesis, Pink Floyd, Jethro Tull, ELP and King Crimson. Basically the main six British bands commonly associated with Progressive Rock. As early as 1988, I had heard the term colloquially used by older friends to describe the same six bands (presumably riffing off the Big Four of Thrash), but the Lucky book is the earliest non-anecdotal source I can cite.
No Hawkwind?
 
No Hawkwind?
Hawkwind are very much not prog. Though you could.make a solid case for thwm being one of the forefathers of modern dance music. Particularly the various rave bramches. There's certainly a lot of common ground in the extended songs, repetitive grooves and use of sound effects to create music.
 
Hawkwind are very much not prog. Though you could.make a solid case for thwm being one of the forefathers of modern dance music. Particularly the various rave bramches. There's certainly a lot of common ground in the extended songs, repetitive grooves and use of sound effects to create music.
No idea where the line is but consider them solidly psychedelic, which may take them out of Prog Rock by the authors definition. I've never heard anyone call Hawkwind dance music. :smile:
 
No idea where the line is but consider them solidly psychedelic, which may take them out of Prog Rock by the authors definition. I've never heard anyone call Hawkwind dance music. :smile:
They're not dance music in and of themselves. But think of the drug fuelled Hawkwind gigs and free festivals of the 70s and compare with the rave scene of the late 90s and early 2000s. It's not hard to draw a line between the two.
 
They're not dance music in and of themselves. But think of the drug fuelled Hawkwind gigs and free festivals of the 70s and compare with the rave scene of the late 90s and early 2000s. It's not hard to draw a line between the two.

Hawkwind are an acknowledged influence on The Orb.
 
No Hawkwind?

While Hawkwind is prog by some definitions (and I think of them in that context), they had their very grubby mits in a wide variety of genres. And this tends to be a shocker to their fans outside of the U.S., but they're not particularly well known here--just as a footnote band that used to house Lemmy. I'll point out that while Jerry Lucky used British bands to judge who were the most influential, he is American, so Hawkwind wouldn't really move the needle.

While I agree with him that those "big six" are the British bands most associated with the concept of progressive rock (both in the 70s and as having the most influence on more modern progressive bands), it really leaves a few other bands high and dry. Gentle Giant and Van Der Graaf Generator are quite nearly as influential on modern prog, as are North American bands Rush and Kansas. Camel are also just as influential, but they are themselves highly derivative of Genesis and Pink Floyd.
 
American progressive rock from the "classic era" is a bit of a rarity. Fireballet sounded like a missing link between Yes and
Queensrÿche. This is the opening track to their 1975 debut album:

 
It always amazed me that Starcastle's singer was REO Speedwagon's original vocalist too. He was a chameleon.
 
I'm still waiting on the Rare Bird LP* to arrive, but in the meantime Thick as a Brick has been played more than a few times. The singer sounds occasionally like Robert Plant, or vice versa, and you could easily mistake some parts for one of Led Zeppelin's better acoustic numbers. :thumbsup:

* As Your Mind Flies By
 
... speaking of Queensryche. They never get enough love. Spectacular band all the way around. De Garmo's guitar and the unholy vocals of the Third Tremor of metal that is Geoff Tate, worthy accessories of classic Prog, if only as their metal cousins.




I'd cite 'Operation:Mindcrime' and 'Rage for Order' as two of the greatest rock albums ever.
 
... speaking of Queensryche. They never get enough love. Spectacular band all the way around. De Garmo's guitar and the unholy vocals of the Third Tremor of metal that is Geoff Tate, worthy accessories of classic Prog, if only as their metal cousins.




I'd cite 'Operation:Mindcrime' and 'Rage for Order' as two of the greatest rock albums ever.

Mindcrime is one of the greatest albums of all time. And possibly more relevant now than it was when it came out.
 
Mindcrime is one of the greatest albums of all time. And possibly more relevant now than it was when it came out.
I was going to say that. I remember in 1986 these guys are singing about cyberspace, and cyberpunk dystopia-turned-Orwellian hellhole scenarios DECADES before people were even considering this stuff in rock, much less doing whole concept albums about it. You can imagine how this impacted me as I was reading Bruce Sterling and William Gibson... yeah. Queensrche is glorious.
 
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I was going to say that. I remember in 1986 these guys are singing about cyberspace, and cyberpunk dystopia-turned-Orwellian hellhole scenarios DECADES before people were even considering this stuff in rock, much less doing whole concept albums about it. You can imagine how this impacted me as I was reading Bruce Sterling and William Gibson... yeah. Queensrche is glorious.
Queensryche, Body Count, Orbital. The soundtrack of Cyberpunk gaming.
 
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