van der graaf generator – live at the abc theatre, glasgow, scotland, june 27th, 2013

first things first: here is the set list from thursday night’s van der graaf generator concert at the abc theatre in glasgow, scotland (june 27, 2013):

[encore:]

peter hammill announced early on in the show that the band would be playing seven songs during the evening – which from any other group, would have brought cries of dismay, because it might well mean a pretty short set.

but, in true van der graafian form, those “seven songs” contained two very, very long pieces, “flight”(which they began playing live for the first time ever on the last US tour), and “a plague of lighthouse keepers” (which van der graaf began playing on the current european tour – and, that being the first airings of the tune save a very few live versions performed in 1972 – so, a long, long waiting to hear that tune!)…and – between those two songs alone, you have something around forty minutes or more of music.

“over the hill” (what a bizarre and wonderful song to begin with – I could not believe my ears) – is over twelve minutes in length; and “childlike faith in childhood’s end” is certainly over ten minutes in length, so those four tracks give you an easy one hour of fantastic progressive rock music.

add in the “shorter” songs, none of which are that short – and it’s quite a decent length show, despite only eight songs being played in total !!!

the venue itself was tiny (this isn’t the big hall at the abc, it’s the ancillary hall, the smaller one – and I mean it’s pretty tiny – but, packed full of happy scots folk on this occasion), it was incredibly hot in there, but the fans were so astonishing – staying dead quiet in the silent sections of the music, then yelling their heads off and singing along when the music returned after a silence – a really respectful audience, and they really made the band feel welcome and appreciated, I don’t think I’ve ever seen peter hammill smile so much as he did during the applause for “gog” – he seemed positively chuffed, I would say…

now that I’ve described the mood and the venue, I will return to the beginning, and try to give my impressions of the show in terms of the music and the musicianship.  let me first say, that I only very rarely attend live concerts any more, and usually only when I feel that I will be witness to truly great musicianship.  very few players in this day and age meet my exacting standards.  for example, so far, this year, I am only planning on two concerts for the whole year – this one, van der graaf generator (who are, after all, one of my favourite bands of all time) and in november, because I love them, a “modern” band – queens of the stone age (who are my current favourite “modern band”).

that is it – so far.  sure, if robert fripp or king crimson or someone of that calibre was touring, and played in scotland – I would make it three concerts.  but having seen many of the best bands over the years (bear in mind that I’ve been going to rock concerts since 1973, so that”s actually forty years worth of live shows, and amongst those shows, I’ve been fortunate to see some of the best musicians of the day – very fortunate indeed) I just don’t often get the urge to put up with all the negative aspects of live shows.  to see a show as good as this one was – was worth the minor hardships of tiny venue, high temperature, and cramped seating arrangements – well worth it.

so – the aforementioned “over the hill” was the opening piece, and, having seen the trio twice previously, on both of those previous occasions, they had opened with the very, very tricky “interference patterns ” from trisector – so I knew that they would have to break that pattern (pun not intended, but, accepted 🙂 ), and sure enough, they did – but what a choice – with it’s odd stop / start arrangement, and it’s wonderfully dissonant piano riffs, all of which gradually resolves into one of the most glorious pieces of music ever created – the piece becomes less dissonant, more glorious, more beautiful, as it progresses to it’s regal ending.  the fact that they replaced the nearly impossible to perform “interference patterns” with one of the most complex, difficult and beautiful tracks from the same amazing studio album, “trisector” (2008) – well, to me, that choice just oozes class.  you mustn’t be predictable; the last two tours, you usually open with “interference patterns” – so how can you top that?  by substituting an even better track from the same album (your strongest post-quartet album, surely).

a fantastic choice, and I thought it was a great way to start the show.  the organ parts, the amazing distorted signature hugh banton solos in this piece are truly spine-tingling in their beauty, and the band played the piece well as they always do – a fantastic starting point for an amazing evening of live music!

next, comes the enigmatic and wonderful “mr. sands”, from the very surprising follow-up to “trisector”, “a grounding in numbers” (2011)– so – two songs from the current van der graaf catalogue, one from each of the first two “trio” albums – to me, a statement, a reminder, that we are here now, and this is the music we are writing and playing – it’s not all about our seventies output.  and what better two songs?  “mr. sands” means a lot more to me now that I understand what it is about, it’s one of those songs that it really, really does help to understand what it means, lyrically, for you to truly enjoy it.  a rocking little number, and the band knocked through it with the confidence and the knowledge of a band playing a current catalogue item – no problem – we know this one 🙂

then, without any ado whatsoever, the third song of the night, the band launches confidently into “flight” – which they had not played previously outside of the last US tour, so we are seeing and hearing this performed live for the first time ever here in europe – “flight” being a peter hammill solo song (from his tenth solo album, “a black box” from 1980) rather than a van der graaf song – so it’s unique in that this is van der graaf generator, 2013 trio version, playing a peter hammill song – and not just any peter hammill song; one of the most convoluted, challenging, and simply remarkable pieces of progressive music ever composed by anyone.  I love this song; I was fortunate enough to have seen peter hammill, solo at the piano, play this piece back in 1981, at the roxy theatre in los angeles, california – and here I was, suddenly, thirty three years later, seeing peter hammill playing “flight” again – but this time, with the best backing band in the world; and, with good technology and reliable instruments – and while both the 1981 and the 2013 performances were amazing…the 2013 really was something to behold.

not perfect – at one point, just one time, someone missed a cue, and they shifted uncomfortably from one impossible section to another impossible section with a bit of a “bump”, but, always professional, carried on as if nothing had happened.  that you could play this 20 minute sequence of music “perfectly” is in doubt anyway – I spent ages just learning the first three minutes of it (the section known as “flying blind”), which I can just about play after 30 years plus of trying – and I never could learn any of the rest of the 20 minute piece!! it is difficult.  I watched with my mouth hanging open, while peter hammill‘s hands played the impossible riff that is “nothing is nothing” while his voice sang in a completely different time signature, and it makes you realise what an amazing performer he really is – he can completely disconnect his voice and his hands – the hands are on automatic, and the vocal is what he concentrates on.  and – somehow – both come out sounding amazing – “I say – NOTHING IS NOTHING!” and another crazed section of impossible prog is launched (the piece is broken into several sections, each which bear a sub-title on the album) – but they are collectively, “flight” – and I am so, so happy, that I can add seeing “van der graaf trio” flight in 2013 to seeing peter hammill “solo” flight in 1981….brilliant!  I am very, very lucky.

peter and hugh handle all of the melodic and harmonic information: on a song like “flight”, the piano is the basis (hammill) the voice is the message and the lyrics delivered (hammill) and then there is the bass player (hugh’s feet) and the organ player/synthesist (hugh’s hands).  and guy…is the glue, the percussive glue, that drags and fits and forces and slams and makes it all stick together as music.  you’d see guy staring up at hammill, waiting for the visual cue, and then going into an impossible, high-speed drum fill that can’t possibly fit in the two seconds available before he has to do yet another impossible drum fill…but somehow, he makes it happen – and it’s really something else watching the three of them, all working to that singular purpose, to deliver “flight” to an unbelieving audience.  the applause was thunderous, and the performance was absolutely unforgettable.  sigh.

“bunsho” is song four, and for me, slightly spoiled by a not quite-in-tune electric guitar (of course, the 100 degree heat in the room wasn’t helping any guitar’s tuning, in all fairness to hammill) but they soldiered on, I like this song, but it’s not something that really rocks my world personally – and it had the difficult task of following “flight” – an unenviable role, we might say!  but still, another great “new” song, and I love seeing hammill play guitar – surely, he’s one of those guitarists that is constantly being underrated, because, we are always talking about his piano playing, his voice, his songs, his lyrics…but not his guitar playing.  I shall rectify that shortly.  “bunsho” passes unobtrusively,  making it three out of four for “new songs” – three new, one old (and that one, not even a van der graaf song!).

the fifth piece of the evening, “lifetime”, is a track from the first “reunion” album, 2005’s “present” and it’s a real favourite of mine, a great organ sound and riff, and hammill playing some wonderful guitar – and the last time I saw them play this, it was a bit of a row, hammill could not seem to come to grips with the guitar solo (which occurs twice in the song) and I was a bit disappointed with it at the time (felt bad for him, it was just not his night!) – but this time, it was right, it was as it should be, and in fact, in my opinion, the solos he played here, are better than what was on the original record.

he’s at home with the song now, he sings it’s beautiful verses with a lovely, quiet passion, and then settles down to play those beautifully chorused, clean lead solos as perfectly as humanly possible – and he nailed them; both of them – much to my everlasting satisfaction.  those earlier awkward performances are redeemed, and he has the guitar parts perfected – great – guy just supports this one, so gently, while hugh plays really, really beautiful hammond-like and other gorgeous organ sounds and bass – really well done.

and with the conclusion of song five, we now leave the present, and the recent, and move back to the classic van der graaf 1970s repertoire that we all love so much – we go to that place, and we stay there until the concert is finished.  probably a calculated move when creating the set list – blow them away with amazing renditions of songs from across our back catalogue – and that’s what they proceeded to do…

song six, “childlike faith in childhood’s end” – an absolute classic from “still life”, which is perhaps my favourite mid-70s van der graaf generator album (from 1976) I think this has the most uplifting, challenging and beautiful lyrics ever written, it asks all the questions, it poses those questions to us, the audience, and then it fills us with joy with it’s thoughts of infinity and how, with the death of mere human….life shall start.  when this song started, I was transfixed, yes, I’d seen them play it before, in fact, three times before, and now, I was going to see it a fourth time – but this time – again – the lead guitars were far exceeding any earlier version I’d seen or heard.

hammill sings this with great, great passion, and on more than one occasion, I could feel myself welling up, at certain lines, certain lyrics – it’s just one of those songs that has always affected me emotionally, and this time, for some reason, I found it more hard-hitting than usual – I don’t know why.  but one thing raised this performance up in my esteem and in my mind – peter’s lead guitar playing.  when it comes time for him to play his beautiful, melodic solos on this track – I always cringe a bit, because as often as not, he struggles a bit, and I want those lead solos to sound perfect. he usually does pretty well, but there’s always a bit I wish could have been…somehow…”better”.

this time, they did not disappoint – in fact, they excelled, they were BETTER than they would normally be – he was so, so “on” – and he played the solos with renewed strength, vigour and excitement – and that absolutely blew me away.  really good, really excellent guitar playing – and all in between singing that impossibly difficult vocal – no problem.  this is one piece too, where you really hear and see the power of guy and hugh working as a team – basically, they take the place of a four man band, but there are just two of them – while peter is either silent, is singing, or is singing and playing lead guitar.  they carry the song – peter is the soloist, and the vocalist, and the lead guitarist, too – what a great arrangement of a fantastic song.  peter’s two supporting musicians pack a sonic wallop that sounds more like four or five sidemen – not two.

from strength to strength we go – no sooner had the band ended the remarkable, powerful, positive universal hymn that is “childlike faith”…than they launched immediately into the never-before heard on a UK stage “a plague of lighthouse keepers” – so – from a 12 minute masterpiece straight into a 22 minute masterpiece.  newly arranged for the trio, newly adjusted for the realities of being played by the trio in 2013 as opposed to being played by the quartet (once or twice, only) in long-ago 1971 – and the new arrangement is absolutely amazing – I was transfixed.  those lyrics, so dark, so astonishing, just giving me the chills, setting the stage for this long, sad tale of loneliness and grief –

“still waiting for my saviour, storms tear me limb from limb;

my fingers feel like seaweed…I’m so far out I’m too far in.” **

 

** [that last line famously plagiarised by fish, when working on an early marillion masterpiece – borrowing from the best, I suppose].

the beautiful vibrato on the electric piano was reproduced flawlessly, but sounding a million times better than the original (advances in technology, I love you) and hugh providing some wild sound effects when required – the band played steadily, like a ticking time bomb waiting to go off – moving through the familiar sections, “the presence of the night” with it’s almost ambient, eerie feeling…all building and building to those vocal storms that we all knew were coming (and a word about that in a  moment):

“where is the God that guides my hand?

how can the hands of others reach me?3

when will I find what I grope for?

who is going to teach me? I am me / me are we / we can’t see any way out of here.

crashing sea, a trophied history: chance has lost my guinevere…”

I think everyone was a bit…worried about what hammill would do when it came time to re-create the highest pitched, most insane “screaming” vocals that are part and parcel of “lighthouse keepers” – but I wasn’t worried; he did exactly what I would expect – he adapted the melodies to the current range of his voice.  he still did some of the build ups, but, pitched a bit lower – he hit what notes he could – but it didn’t matter, it’ just sounded perfect – they did an absolutely fantastic job.  his vocals were absolutely wonderful, very tasteful, very, very well executed – I really respect hammill’s ability to sing these songs now, when his voice does not have the range it once did – yet, you would hardly know that from listening.  he just makes the vocals work, and works around the tricky parts professionally, tastefully, and beautifully.

for me, it wasn’t so much the “insane” parts or the wild, screaming vocals, but instead, the peaceful resolution at the end – after all of the tumult, including one section where I couldn’t tell if it was a really, really loud and long bass note, or maybe even, feedback – a sound so loud it rattled your very bones – and the swirling instrumental sections that we all know and love from the original album, not just faithfully reproduced, but, improved with this new arrangement – but all the wonderful, crazy sections are all really just leading to… “land’s end (sineline) / we go now” – I realise, this is what I have been waiting to hear …

“cceans drifting sideways, I am pulled into the spell,

I feel you around me, I know you well.

stars slice horizons where the lines stand much too stark;

I feel I am drowning – hands stretch in the dark.

camps of panoply and majesty, what is freedom of choice?

where do I stand in the pageantry, whose is my voice?

it doesn’t feel so very bad now, I think the end is the start, begin to feel very glad now:

all things are a part

all things are apart

all things are a part”.

this was the section that I realised I was waiting for, how the song resolves itself in an incredibly melodic and beautiful and harmonious section comprised of glorious organs and pianos, crashing cymbals, and the oddly phrased coda of “all things are a part / all things are apart / all things are a part”, beautiful vocals, made even more beautiful in the now calmer, more mature 2013 voice of peter hammill…a lovely outro to one of the most tumultuous, strange yet wonderfully reborn pieces of music ever created, and I am so pleased to have been able to hear and see the band play this song – really pleased.  a once in a lifetime experience that I will not soon forget.

so with the words “oceans drifting sideways” I was suddenly there, at that moment, “land”s end” – I’d finally reached that amazing place of peace and beauty after the terrific maelstrom of the first 18 minutes of “plague” – I had reached the place of peace – “land’s end” – and it was just the most wonderful resolution, a great journey through a long and difficult terrain – but ending up in such a good, good place.  sigh.

I am so glad that they undertook the decision to do this, I think that the success and the positive reactions to “flight” from the last tour, lead them to this idea, of adding an even more unlikely candidate into the set list – so for that, I am so, so, grateful, and I feel even more fortunate, because of this, I am doubly lucky, as we got to hear and see both songs in one amazing concert!!! two impossible things before breakfast, as it were…

before we could catch our breaths…while the loud, loud, wild applause for “a plague of lighthouse keepers” was still resounding, not yet finished – the encore began. a moment of sheer shock, as I realised – “this is gog” – “oh my dear god, it’s gog…”

the most chilling hammill lyric yet, with it’s nihilistic denial of all labels, some who would have him as satan, some as god – and when he delivers the edict “I AM NONE” it’s just the most chilling moment in any song, anywhere – the creepy church organs-meet-freestyle-jazz cymbals, with potent, throbbing organ bass threatening – and then suddenly it’s hammill’s voice “some swear they see me weeping in the poppy-fields of france….” – god, there’s just nothing like it, a fantastic lyric, a great piece of free-form prog…an astonishing choice of encore, too – a second peter hammill song (this time, from 1974’s “in camera” – an absolute classic, but, a solo album, not a van der graaf album) – although in this particular case, it does so happen that van der graaf performed on the original – which is probably what made it possible for them to resurrect it for one of the earlier trio tours.

and I was careful to watch what hammill played on the electric guitar during this tune, it’s not evident on the studio recording, but there is an absolutely stonking guitar and organ precision riff, that hammill and banton play at speed, in perfect time, repeatedly during one of the verses of this song, so, they are playing this convoluted, impossible descending guitar and organ riff while hammill is singing the song – and it’s another one of those sleight-of-hand things, if you blink, you might miss it, but it’s that disconnected my hands are doing one thing in one time signature while at the same time, my voice is singing in a different time signature…and together, that makes “gog” what “gog” is – a fantastic piece of progressive music, especially in these live “trio” versions – they play it really, really well – better than the record.

I was lucky enough to see them play it once, but to see it again, now, in 2013, following immediately on the heels of none other than “a plague of lighthouse keepers” – and, as the bloody encore – gog – take no prisoners; no happy, positive tune of hope, no “refugees” or other audience placation – instead, the dark side, the darkest of the dark lyrics, and, the fantastic denial of the labels that were applied to hammill all encapsulated in this song’s lyric; the audience’s reaction was to scream even louder than they did after “lighthouse keepers” – if such a thing is even possible – a fantastic reception – but it did, in the end, have to end – so, as they left us with last night, I leave you know with the full lyric of the remarkable “gog”:

some call me SATAN others have me GOD some name me NEMO…

I am unborn.

some speak of me in anagrams, some grieve upon my wrath… the ones who give me service

I grant my scorn.

my words are ‘Too late’, ‘Never’, ‘Impossible’, and ‘Gone’;

my home is in the sunset and the dawn.

my name is locked in silence, sometimes it’s whispered out of spite.

all gates are locked, all doors are barred and bolted, there is no place for flight.

Will you not come to me and love me for one more night?

some see me shining, others have me dull; gun-metal and cut diamond –

I am ALL.

some swear they see me weeping in the poppy-fields of France…

in the tumbling of the dice see them fall!

Some laugh and see me laughing down the corridors of power: some see my sign on Caesar and his pall.

My face is robed in darkness, sometimes you glimpse me in the shade,

All friends have gone, all calls are weak and wasted, there is no more to say.

will you not crawl to me and love me for one more day?

Some wish me empty, others will me full, some crave of me infinity –

I am NONE.

Some look for me in symbols, some trace my line in stars, some count my ways in numbers:

I am No One.

Some chronicle my movements, my colours and my clothes, some trace the work in progress –

it is done.

My soul is cast in crystal yet unrevealed beneath the knife.

All wells are dry, all bread is masked in fungus and now disease is rife.

Will you not run from this and love me for one more life?

now that’s how the encore of a progressive rock concert should go!! – with drama, with darkness, with a tinge of hopelessness mixed with a tinge of hope…

that’s gog.

what a way to follow “lighthouse keepers” too – totally a grand slam – the impossible 22 minute saga of a “lonely man” followed by the ultimate denial of any labels at all being applied to that same man a few years later…I AM NO ONE !

for those of us who were lucky enough to see a show from this current european tour, those of us who won the “double van der graaf generator lottery” and got to see and hear the band play “flight” anda plague of lighthouse keepers” in the same show…it was an unforgettable experience, and I am so, so glad that the band decided to return to scotland again this year, and that we were lucky enough to get to see them play again – highly recommended if you want the real deal, a real progressive rock band playing at the height of their skill, their musicianship is untarnished by the years that have passed – and we are left with…the music.

and, it stands the test of time as no other classic seventies prog band’s catalogue does – van der graaf generator, could easily be voted “least negatively changed” over time, or better still, “most amazing after all these years” – because they truly are, and no other reunion or reformed prog band that started in the late sixties as van der graaf did, can boast a current musical quality like the one we witnessed at the abc theatre on june 27, 2013 – no other prog band can touch them, now.  seriously.

a remarkable experience. you should see them if you have the chance.

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the “eternal album” – and, sequencing with the fairlight pro app

with the recent release of my first “eternal album”, “music for apps: fairlight pro” I’m now moving much more publicly into the realms of app-based music, so far, I’ve kept most of my application-based music just in the world of you tube videos, with musical activities such as the purescapes channel, which is a you tube channel dedicated to music I’ve created with “scape” – the generative ambient music application designed by brian eno and peter chilvers… I’ve also done the odd live improv involving applications on some of my other you tube channels such as “applicationHD” and “synthesizerHD” but this is my first actual full “album” of application-based music.

I should take a moment and explain the “eternal album” concept; this is an idea I’ve been working on for about one year, I’ve mapped out a series of these albums to be made using existing and future music recorded with applications – and application-based music is like science fiction to me; I still can’t really believe that it exists, and that for the last year and a half, I’ve been able to create music (and, a lot of music at that) on a tablet; using a myriad of music-making applications – to create music of  incredibly varied styles, from super ambient (scape, mixtikl, bloom) to frenetic, heavy, synth music (nanostudio, imini, animoog, addictive synth, thor, nave, n log pro, magellan, sunrizer, and so on…) to almost anything in between (launchkey, loopyHD, cantor, mugician, sound prism pro, beatwave, and so on…) – five years ago, I would not have thought this possible.  however, a practical problem has emerged, that the “eternal album” solves – how to present a large number of finished compositions (far too many to assemble into ordinary “albums”) in a way that makes sense for both artist and listener.  the “eternal album” solves this new world, application-based problem.

so, after 41 years of making “normal” albums – i.e., for release first on cassette, then on compact disc, and eventually, online (a mixture of downloads and compact discs), but this…this is a new “kind” of album, one that recognises that the album concept has become slightly outmoded.  of course,  I will still continue to make normal “albums”, where I collect songs together (such as “gone native”, my recent collection of active music, or ambient albums such as “sky full of stars” and “the haunting” – and many others, too) – this will continue, and it will revolve mostly around music made with electric guitar, or guitar synthesizer – I still feel in particular that for ambient music, the normal “album” full of songs is the best presentation method.  there are many reasons for that, the foremost of which is that by selecting a group of songs, and ordering them in a particular way, the artist can control the “mood” of the ambient album experience – so I think a defined set of tracks, carefully sequenced, is very often a good idea, and in ambient music, it’s particularly effective.

but…not so for music made with applications.  since to me, with my old-fashioned brain, this is futuristic music, science fiction music, music that I never dreamed could be made, mixed and published on a tablet device, in vast quantities (example – in just about one year of creating “scapes” using eno and chilvers remarkable application, I’ve created in excess of 1000 scapes) – and, the majority of them are of a quality I would absolutely publish – so – I feel that this music, in these quantities and at this level of quality (there is really no such thing, for example, as a “bad scape”) – this music deserves a new kind of album – the “eternal album”.

the concept is simple:

1) there is no finite number of tracks – tracks are added as they become available.  we begin with existing, completed tracks, and add new tracks as they are created and completed

2) there is no ending to the album itself – it’s end is dictated either by the disappearance of bandcamp, or by the disappearance of myself from the planet (both will happen eventually – this is inevitable)

3) customers can download any number of tracks and construct their own “versions” of the album, from a single track to hundreds of tracks if available, or anywhere in between

4) customers can either use the suggested running order or create their own, four seconds of silence has been added to the end of each track for this specific purpose

5) there is no album price, as the “album” is whatever the customers want it to be, from one track to hundreds of tracks (if available) in any order they please

6) a word about track pricing, because of the nature of the “eternal album”, we have set the track prices at a special low level to compensate for the higher track count

so what this means for me as an artist, is what I need to do to present the work for a particular application, is to create a normal bandcamp album, in this first case, the album is called “music for apps: fairlight pro” (in fact, all of these albums will have similar titles, such as “music for apps: scape” and “music for apps: nanostudio” and so on) and I then upload the existing, finished master tracks that I’ve created with that application.  that might be just a handful of tracks, it might be many, but once uploaded, I would then add to the album at any point in time over the next 30 or 40 years,  many, many more completed tracks – as they become available.

this might mean that if I have a very prolific period of composition next year, that I might add 20 or 30 new tracks during 2014, to the existing fairlight pro tracks that are already part of the album.  or, if I do not have the urge (or more likely, the time, due to other commitments) to work with the fairlight, it might be that no tracks are added until 2017, when I finally find the time to record new fairlight sequences…the input is totally flexible.  note: if customers indicate a demand for more tracks of a certain type, i.e. they ask for more fairlight sequences, or more scapes, I will do everything within my power (and my schedule) to provide same.

so any “eternal album” can have any number of tracks at any time, more tracks can be added at any time, or, they might remain static for many months or years depending on what apps I am currently recording with.  it’s the ultimate in flexibility for me, the artist, but it’s also the ultimate in flexibility for the customer for these reasons:

1) the customer can listen to all of the available tracks before making any purchase, and decide if they like none, one, a few, many, or all of the tracks

2) the customer can download only the tracks they like, ignoring those tracks that do not appeal to their “ear”

3) for completists, they can own every available track and get the full musical impact of perhaps a decade or two decades’ worth of the artist’s work in that particular format – perhaps, a hundred or more songs recorded over ten or twenty years – something that most artists do not necessarily make available to their listening public (but I wish to as much as is humanly possible)

4) having many “eternal albums” to listen to and choose between, gives the customer a very good idea indeed “which” of the applications that he or she likes the sound of, so some folk, for example, who are more used to my ambient work, will favour the scape and mixtikl “eternal albums” while others who perhaps like the louder, more active side of dave stafford, will opt for the “eternal albums” created with the fairlight, nanostudio, or other active/synth tools.  it provides a much greater range of choice, which appeals to me.

it’s really all about choice, and to me, having a range of albums, sorted by application, with a comprehensive catalogue of tracks created within each application available to listen to at no charge and no risk, gives customers the chance to listen, compare, and decide which applications they feel drawn to or that resonate with them, and, which applications do not appeal to them at all.  it might be that one customer only likes the sound of scape and mixtikl, and does not enjoy the fairlight pro or nanostudio albums.  or, the complete opposite, or any mix of styles/apps – but the beauty is, as with all albums presented in bandcamp, you can listen, compare and contrast before making any purchase decision.

since I have just been through a complete review of every single track I’ve ever produced using the fairlight pro (peter vogel cmi) sequencer, I wanted to take some time to talk about the joys and frustrations, the highs and lows of creating music with the fairlight pro app in particular, since it’s the subject of the first dave stafford “eternal album” and is our featured application today.

whether you call it by it’s current official name, “peter vogel cmi”, or if you are a bit lazy like me, and you call it “the fairlight” or “fairlight pro” – this is one of the most unique applications that appeared in the early days of the ipad tablet revolution.  despite it’s high ticket price, it was one of the very first applications I purchased, because I wanted that sample library – the one that kate bush and peter gabriel used in the early eighties, I wanted those sounds!

I had a bit of a learning curve, I am first a guitarist, second, a pianist, and lastly, a synthesist – and despite playing both guitar and keyboards, sequencing was a skill that I had really never got the hang of…until the fairlight pro application appeared in the itunes store.  it took me a few weeks to really understand and take advantage of what the app can do, but once I got the hang of it, my skill set just skyrocketed, and within a few months, I found that I was creating pieces of music that really surprised me in their complexity for one thing, but at the same time, it was the sound of the pieces…and that takes us right back to those incredible samples.

in uploading the tracks to the album, I’ve taken the unusual step of defining in full, in the attendant metadata, a detailed description of each piece, it’s duration, tempo and the instruments used in the creation of each track, so for each track that is part of the album, there is a list of the eight instruments used to create it.  the reason I’ve included this is because it’s so, so difficult, when listening to a completed, mixed, stereo sequence, to tell what the component parts are.

but even knowing what “went into” the piece is sometimes not enough, sometimes it’s more about unusual choices made with note durations, or adjusting the tempo to make a certain melody sound a certain way, a lot of the fairlight “magic” is in the combination of instruments used – and sometimes, strange things happened, and instruments that sound one way juxtaposed with three other instruments, suddenly change their sonic character when paired with say, two other different samples.

there is something about the fairlight that you can’t explain in words, and at that point, you can only listen.  the samples are just classic, and I love the quantity and diversity on offer, but even more important, the insanely strange combinations of instruments you can achieve by mixing and matching across categories, and if you think about it, each fairlight “instrument” consists of (a maximum of) eight instruments, so just how many combinations of eight can be made from the many hundreds of samples there are??

what amazes me, too, is that I can create a new instrument, and it always, always sounds completely different from any other instrument I’ve ever created!  no matter how many I create, each instrument seems to create an utterly unique sound, which you can’t replicate easily using other applications.

yes, you could physically collect those eight instruments (although it might be difficult, for example, to get ahold of “jetpasso1” – mosts musicians do not have a jet in their studio) and record with them, but it would be utterly impractical in a lot of cases, again, I don’t have a digeridoo in my studio, but with the fairlight – well, I do.

listening back to the sequences I created beginning in february 2012, and then moving up to the present moment, it’s a journey of pure discovery, a joyful, joyful journey, with a few moments of frustration, a few paths that I shouldn’t have gone down, but mostly, it’s just one of the most unique, interesting and entertaining bodies of work I’ve ever had the pleasure of creating and being the composer of.  I’ve created silly sequences, sequences composed of bird song, classical music, pop music, heavy synth music, rock music, progressive rock (quite a bit of prog in there), it’s unbelievable the variation of tracks I’ve created over the last year and a half – I even have one sequence that accidentally sounds a bit like an obscure XTC b-side…

I think that this unassuming little app, with it’s amazing set of classic 1980s samples, has a remarkable power – it allows you to play eight very diverse instruments together, in an impromptu “band” that you then arrange measure by measure…creating completely unique pieces of music with these one of a kind “instruments”.  I love spending time creating with it, and I hope that you’ll enjoy some of the fruits of this labour, it’s always an amazing feeling when you push “play” for the first time, and a remarkable and very unique piece of music plays back…which was built literally, note by note.

so – I think it’s appropriate that the music made with the fairlight pro application is the subject of  my first “eternal album”, it seems right, it’s both a classic synth from the 80s but also, one of the first high quality sequencer/samplers to be made available for the ipad and iphone, so therefore, it’s part of our past and our present and our future.  I love working with this tool, and I recommend it highly to anyone who plays keyboards, that wants to learn how to sequence – it’s how I got started 🙂   note by beautiful note !

the return of progressive rock…

I turn now to a topic that I have not ever addressed directly from these pages, something very close to my heart indeed – progressive rock music.  I have very occasionally reviewed progressive rock albums, such as king crimson’s “larks’ tongues in aspic”, or written about some of my favourite progressive rock bands, such as focus, but I’ve never tackled the genre itself until now.

as a visual adjunct to this essay, please take a look at some selected album art from four of the best progressive rock bands – king crimson, yes, genesis and gentle giant. the artwork that was such an integral part of progressive rock music, deserves it’s own separate treatise, and would include, of course, familiar artists such as roger dean, who has long been associated with the progressive rock genre. the beautiful, fanciful, and extremely creative artwork that has graced many a prog album cover, we will leave for another time, and instead, this essay will concentrate on the music itself.

“prog rock” as it’s known, or progressive rock if you want the long version, is a unique, remarkable and very persistent genre of music. speaking of the “long version”, that’s exactly what the proggers are famous for, epic pieces of music such as (but not limited to):  “supper’s ready” (genesis), “a plague of lighthouse keepers” (van der graaf generator), “fracture” (king crimson) – or to choose an even longer live crimson improv, “a voyage to the centre of the cosmos”, “karn evil 9” (emerson, lake & palmer), “the revealing science of god” (yes), “thick as a brick part one” (jethro tull), “echoes” (pink floyd), “nine feet underground” (caravan), “in held ’twas in I” (procol harum), or even some of the very earliest works by, of all people, the mothers of invention, such as the title track from the “absolutely free” album – this trend for very long tracks was mimicked by, strangely enough, in the mid-1980s, a genesis-soundalike band called marillion – with their very long piece entitled “grendel”. of course, not all prog songs are very, very long – this is just one of many aspects of progressive rock.

it’s generally acknowledged that progressive rock developed out of psychedelic rock, and certain well known records, including the beatles “sgt. pepper’s lonely hearts club band”the mothers of invention‘s “freak out”, and the beach boys‘ “pet sounds” – these, and others, bands such as the left banke, who introduced unusual instruments into their songs, are considered to contain the first seeds of true progressive rock.  king crimson‘s robert fripp has cited the beatles “sgt. pepper” as being a profound influence when he first heard it, on the radio (along with classical works by bela bartok), in 1967, so that certainly lends some credence to this theory.

prog rock is remarkable for a number of reasons, the primary one being the incredibly short period of time that it existed in it’s original incarnation.  it is somewhat difficult to pick a year to represent the “beginning” of “true progressive rock” – because there are examples going all the way back to 1966’s “freak out” by the mothers of invention, whose leader, the late, great frank zappa, understood classical, jazz, and many, many other musical forms – which of course, came out in the mothers of invention’s music – these can be considered to be “prog prototypes”…but if I had to pick a “starting year”, I would say it was 1969 – the year that saw the release of “in the court of the crimson king” – the classic first long playing album from one of prog’s most important bands, king crimson.

in my mind, then, I’ve always felt that prog “ran”, if you will, from 1969 through 1977 – and it was during 1976 and 1977 that a new form of music came along that didn’t sit well with prog – punk. prog tried to persist all the way up until 1980 (and in a limited number of cases, beyond), but by 1977, a lot of the life had already gone out of it, so roughly speaking (this can be argued a number of ways, this is just an arbitrary span approximating the time when prog had the most influence) – progressive rock lasted exactly eight years. ten at a stretch – if I had an alternate, decade long version, it would run from 1968 – 1977.  if the beginning of prog is difficult to determine…really, we could place it anywhere between 1966 and 1969, in contrast, the end of prog is quite clearly delineated by the arrival of johnny rotten and co.  in 1977, there were still a few decent remnants of prog, but by 1978…progressive rock was in serious trouble. there were a few stalwarts who continued to work through the end of the 1970s, such as u,k., a late arriver on the prog scene featuring two ex-king crimson members, john wetton and bill bruford.

if you follow the career of any prog band that started say, in 1969, and ended, say, in 1980 – you can audibly hear the prog heart of the band dying.  an example of this, would be the amazing gentle giant, who put out an unbroken string of great records…up until 1977’s “the missing piece”, which, while still containing some excellent music, you could hear the change coming…and then, the albums that followed, between 1978 – 1980 – bear almost no resemblance to the band we knew and loved circa 1970 – 1977. something happened.  the catalogue of emerson lake & palmer traces a similar course – complex, inventive, intriguing music which perhaps reached it’s height with “brain salad surgery”…eventually gave way to “works”, which in comparison, seemed dull and lifeless.  and don’t even get me started on the musically reprehensible “love beach”…

I’ve always maintained that for myself, 1974 was the perfect year of prog.  I mean, in that year, we heard “red” by king crimson“the power & the glory” by gentle giant“the lamb lies down on broadway” by genesis (which I actually saw the concert of at the san diego civic theatre – outrageously good concert…), from yes the ground-breaking  “relayer”, two albums from the suddenly solo peter hammill“the silent corner and the empty stage” and the incomparable “in camera” , the live rendering of “brain salad surgery” and much more in “welcome back my friends, to the show that never ends…ladies and gentlemen, emerson, lake & palmer” – the obligatory live album from emerson,lake and palmer“exotic birds and fruit” from the redoubtable procol harum“hero and heroine” (strawbs), “hamburger concerto” (focus), from pfm (premiate forneria marconi)  a double release of “l’isola di niente” (the original italian album) and it’s english language counterpart (featuring english lyrics from king crimson’s peter sinfield – of course) “the world became the world” from italy’s finest prog band…

my perfect year of prog list of amazing albums continues…with the absolutely extremely innovative and incredible “mirage” from andy latimer‘s cameljethro tull’s “war child”, and the remarkable gryphon with one of their most amazing records, “midnight mushrumps”, the surprising debut from todd rundgren‘s progressive rock band, “todd rundgren’s utopia” and album of the same name (who knew that the previously very pop rundgren had a soul of pure progressive rock? – and was a guitar slinger second only to my next star?)…the incomparable, amazing, genius guitarist and composer, frank zappa, now mothers-less, with one of his most incredible records, the absolutely unique, hilarious yet deadly serious musically, “apostrophe(‘)”…none of these recordings being exactly second-rate.

of course, by choosing 1974, I do have to leave out a huge number of really fantastic albums that came out in 197119721973 and 1975…but, I had to pick just one, so 1974 is the year for me. I am sure you have a favourite year of prog too, which very well might be different, for different reasons, but there is something about prog, about that strange moment in time, an incredibly unique event that only comes once in the history of music…

I feel very, very fortunate that I was born at a point in time that intersected almost precisely with this absolutely unique 8 year period, because this is the music that I grew up with, starting with a love for the beatles, moving briefly to hard rock via led zeppelinjimi hendrixzz top and so on, and then eventually through yesgenesisgentle giantking crimson, and so on…in 1974, in my perfect year of prog – I was sixteen years old – old enough to go to concerts, and the first concerts I did go to cemented me in a place of first rock, then prog:

concert 1 = led zeppelin, san diego sport arena 1973 (OK, I was 15 for this one – barefoot in that amazing crush at the front, a stone’s throw from the amazing jimmy page…)

concert 2 = yes, san diego sports arena 1974 (tales of topographic oceans tour, quadraphonic sound)

and from then on, via various rock and progressive rock shows, as diverse as steely dan or the allman brothers…eventually leading to the aforementioned “lamb lies down on broadway” show, maybe the single most amazing concert I’ve ever been to…and then more yes, much more yes (they visited san diego twice during the “relayer” tour – not often you get to see one of your favourite bands twice in a row, although technically, it was on two different tours, 75 and 76 – the set lists were quite similar), then gentle giant (finally – a 40 minute set, but – better than not seeing them!)…

eventually, since I missed them in the seventies, much to my chagrin – in 1981, finally – I got to see king crimson.  as it turns out, I did see crimson several times in the 80s and 90s…which almost, but not quite, makes up for me missing the 1960s and 1970s incarnation(s) of the band.  I was just a tiny bit too young to witness the first few years of prog, but thankfully, by the time the “lamb” tour hit san diego…I was there with open ears.  I can still remember the crowd as we left the venue, complete strangers turning to each other, everyone wearing the same permanently-jaw-dropped facial expression, sort of saying to each other “do you BELIEVE what you just saw and heard??”.  the future of music – peter gabriel‘s amazing costumes and characters, the theatrical front man with the incredibly capable band…there was nothing on earth like genesis live at the end of the “gabriel years”.

the 1980’s king crimson, adrian belewrobert fripptony levin and bill bruford on the other hand, is one very rare example of a progressive rock band actually adapting to the times, and reinventing themselves in the very prog-unfriendly 1980s – and having a good run of albums and tours.  80s crimson were the exception to almost every rule, most prog bands that tried to exist in the 8os, simply found that they couldn’t.  some bands changed so much (remember yes-meets-buggles with the rather dreadful “drama” album of 1980? – not their best moment) that you could no longer recognise that they were a prog band any longer.  of course, I suppose you do need to change with the times, but in a lot of cases, it was better for a prog band to just quit (as gentle giant wisely did after their final three albums, which were not to the standard of their string of albums from 71 to 75) than to carry on forever trying to adapt your music to times that were, frankly, not suited to progressive rock at all. it’s such a strange series of events…

rock music, in the 60s, itself barely a decade old…then spawning psychedelic rock, which then in turn…spawned progressive rock (sort of) – and that then only really ran for less than a decade – before the big backlash, the punk wave and the new wave that overwhelmed prog completely, so that by the dreaded 80s…it was mostly gone.  except for king crimson, who held on from 1981 – 1984 before calling it quits once more. it was such a serious backlash, too, the punks really didn’t like prog (although, of course, not advertising that in one case, john lydon being not-quite-secretly a fan of the music of peter hammill (in particular, the punk-predictive 1975 “nadir’s big chance” album and his band van der graaf generator, so prog was actually a secret influence on punk…) and they were very vocal about it, and the whole punk movement and the new wave that followed, showed disdain for the “bloated excesses” of prog – made a lot of fun of that (even though those excesses were actually really only limited to a very few prog bands – who shall remain nameless – hint, starts with e, ends with p, l in the middle…but never mind that!)

and that sort of sealed prog’s fate until the various resurgences of very recent years…so out of all the genres that came and went from 1950 forward…progressive rock is one of the strangest, lasting such a short time, being of such a unique musical cast, with the “progressive rock” tag being applied to bands as different sounding as jethro tullking crimsongenesis, and van der graaf generator – none of whom sounded remotely like the other.  arguments ensued; was van der graaf REALLY a prog band?  because they had no lead guitarist (until 1975, anyway).  was king crimson really prog, when some of their albums (particularly, the lizard album) were so jazz there was very little “rock” to be found on them? and jethro tull – a band led by a crazed, bearded gentleman who shouted into his flute – how exactly was THAT progressive rock?

none of those questions can even be answered, and there is not much point in arguing about them – all of those bands were, for better or for worse – prog rock.  even oddball groups like gryphon, who were really more classically oriented than progressive, still had the “progressive rock” label attached to them, whether they would or no…

so if you think about it, all of these bands, who are labelled “progressive rock” – bands like pink floyd, who began life as a psychedelic rock band – eventually somehow mutated and evolved until they were then lumped in with “progressive rock” by about 1971 or so.  in the particular case of pink floyd, that would partially be due to the change in line up, from the psychedelic / rave up syd barrett era, to the calmer, relatively “normal” david gilmour version of the band (“relatively” being the operative word in that sentence!).

a few bands seem to “fit” the genre more neatly than others – genesis and yes, to my mind, being “typical” progressive rock bands (if there is such a thing) but even that doesn’t hold up, because if they are typical, then where does that put king crimson, also one of the bastions of the genre.  genesis and king crimson don’t really share that much musical common ground, not if you think about it.  those beautiful, pastoral genesis records, from “trespass” to “nursery cryme” to “foxtrot” – sure, there are some heavy prog passages, but there are also a lot of lilting, gentle acoustic guitars and 12 strings – something you do not generally hear on early king crimson records.

fripp did play acoustic guitar, but in a very, very different way to the way that anthony phillips, steve hackett, michael rutherford and tony banks did – very different, and if you don’t believe me, then simply play “the musical box” by genesis followed by “cirkus” (studio version, from lizard) by king crimson – and you will be able to hear what I am talking about. I love both of those tracks, but they are a million miles apart musically speaking!

first (original genesis guitarist) anthony phillips, and then steve hackett (phillip’s replacement), brought distinctive lead guitar sounds to genesis as their music evolved, yet, comparing either of those to the style envisioned by king crimson‘s robert fripp – there’s just no musical continuity – fripp plays guitar in a completely different style to hackett or phillips.  and bands like jethro tull – they were so odd, so unique, and really, no other band was quite like them – I think they were given the label “progressive rock” simply because there was no other choice, no other possible genre that a band that unusual and creative could by placed in.  but jethro tull have none of the standard hallmarks of a prog band, except perhaps a propensity for very, very long pieces of music.  but even though I suppose they were, I never really felt like tull were a prog band – they were just…tull !  a unique musical entity who perhaps, deserved a niche genre of their own…who knows?

if you know what I mean.

so – I was lucky, I was actually there, and I did manage to see some of these bands, at the time that they ruled the earth.  and those I didn’t get to see…well, that was what albums were for, and we all collected prog – british prog mostly, but also french prog, italian prog – we would listen to anything once, just to see if it was good – and much of it was good.  but the truth was, it was mostly a british phenomenon, and there were really very, very few prog bands from anywhere except the UK.  the USA produced a very few prog bands, all I can think of off the top of my head are happy the manthe dixie dregs (featuring guitarist steve morse), and todd rundgren’s utopia, and of course, canada’s redoubtable power prog trio, rush.  I suppose that early kansas (I mean, “song for america” kansas, NOT later kansas) were prog, but they moved very quickly towards more ordinary rock with songs like “carry on my wayward son” and “dust in the wind”, so personally, I don’t really count kansas as prog myself, but this is another one of those arguable points that prog fans will never agree on…they certainly started out as a prog band, “song for america” does prove that, but after that…well.

meanwhile, while the perhaps the best and brightest prog always came from great britain, italy produced pfmle orme, and banco;  france, angegong (which also featured brits and australians, and was actually founded by an australian, daevid allen – also a founder member of soft machine), magma and others, germany produced a few prog bands, most notably triumvirat and various versions and incarnations of amon duul, while the netherlands gave us the amazing focus (featuring one of my all-time favourite guitarists, the remarkable jan akkerman), as well as the arguably “are they really prog??” golden earring…most countries produced a few progressive rock bands, but it was really just down to the british isles from whence the lion’s share of progressive rock bands sprang…

and what an amazing and bizarre lot those british prog bands were – from the shulman brothers, born in one of the poorest parts of glasgow, raised in portsmouth, mutating from simon dupree and the big sound into one of the most remarkable and innovative groups of all time, in any genre, the insanely talented multi-instrumental gentle giant; to dorset’s soft spoken robert fripp with his singular vision of multiple guitar-driven incarnations of king crimson, which now spans four decades, to the canterbury scene with the extremely capable caravan, to andy latimer‘s fabulous rock-meets-jazzy guitar prog outfit camel – the list goes on and on, and each one of these groups, has a distinctive sound, sometimes more than one, which is often very unlike the others.

I would take a moment to mention an odd stem that branched off of the progressive rock family tree, and it relates to what happened in germany – which did produce some really good progressive groups, such as the aforementioned triumvirat, and while they had british members, were considered to be a british band, but were actually originally based in germany (so a lot of folk thought they were german) – I would be remiss not to mention the very talented nektar, a band that I used to cover – one of my earliest bands, “pyramid”, used to play both sides, the entire “remember the future” album, live – a fantastic achievement for three out of work nineteen year old musicians 🙂  what happened in germany, though, is that rather than just producing a few prog bands, as almost every european country did – prog mutated once again – into what became known as “krautrock” – as represented by tangerine dreamfaustcanpopol vuh and neu! – and if we fast forward a bit, that same branch eventually produced the decidedly unique kraftwerk – a band that I consider to be a sort of “descendant of krautrock“.  if there could be such a thing…

another odd thing about prog, is that all these progressive rock bands…almost every one of them had a unique sound, and often, did not sound anything like their contemporaries. for example, it’s difficult for me to name two progressive bands that “sound quite similar”, although if I had to, I might cite camel and caravan – if only because richard sinclair was lead vocalist and bassist for both bands at different times – so that did temporarily, give them a similar sound…I suppose.  but not really similar… this of course, does not include intentional sound-alikes, the most notable probably being bi kyo ran, a japanese band that sounds suspiciously like 1973 period king crimson.

some of the european bands might also semi-accidentally adopt an elp-like or crimson-like sound, but mostly, most of these prog bands did actually have a unique sound – and that’s possibly due to the very different instrumentation used by some of these bands – where for example, the lead instrument might be a flute (as in jethro tull) a saxophone (as in early van der graaf generator, played by the remarkable david jackson), or the more traditional lead guitar (as in many prog bands – but not all!!).

gentle giant sounded different because they would play completely different sets of instruments on stage, starting a song (such as “so sincere”, from 1974’s “the power and the glory album”) with all five members playing acoustic, classical instruments (cello, violin, acoustic guitar, recorder, drums), switching quickly during two bars of drum beat, to electric instruments (electric guitar, bass guitar, keyboards, drums, vocals), and ending with all five members playing drums!! – which was unheard of – no other band could do that!  they also sounded quite different to other bands in the studio, because they played so many different instruments. one of my very, very favourite progressive rock bands, the classically-oriented gryphon, had a very unique sound, because they used some very strange and quite rare instruments, such as the krumhorn.

speaking specifically of the instruments that prog musicians favoured, there are a few that do tend to crop up again and again as “common” in progressive rock bands, besides the ubiquitous electric lead guitar, the mellotron is absolutely associated with progressive rock, as is the hammond b3 organ– although that instrument is common across all rock styles – so probably the mellotron, and it’s successor the birotron, are the most often associated with prog. the other very, very common instrument found in prog, is the now ever-present moog synthesizer – in particular, the mini-moog, which rick wakeman helped popularise both in his work with yes, and in on his various solo albums, the most successful of which was “the six wives of henry VIII”, where he created six long suites using a huge array of keyboards, mellotrons, moogs and other synthesizers.

some prog bands used a lot of mellotron in their recordings on stage, notably king crimson, while others, like camel and nektar, favoured the hammond b3 sound, while still others such as yes, incorporated all three.

of course, the beatles had used mellotron quite a bit in the studio, and from the late 1960s onward, they were to be found on many of the most important progressive rock recordings and on the stages at progressive rock shows.  prone to breakdowns and notoriously hard to tune, they didn’t really evolve much during prog’s brief run, although rick wakeman had some success with the birotron in later years.  it is interesting to note that now, in 2013, you can get mellotron apps on your ipad or iphone, and even better, a company called “g force” has published a software synth (or softsynth) named m-tron pro (which, in 2011, I created an entire album with – “sky full of stars” – and, m-tron pro was also my instrument of choice for the “dreamtime” sessions from my latest collaborative band, “scorched by the sun”), that faithfully reproduces all the classic sounds of the original mellotron, plus, hundreds of more modern sounds, including looped versions of the classic mellotron strings, flutes, horns and choirs – as well as artist “presets” from players like rick wakemang force have also developed additional add-on sound libraries of other samples, such as samples from instruments like the chamberlin, another offshoot from the mellotron family tree…

all this to say, that there really was no “formula” for a progressive rock band – you might be led by a flute, a guitar, a sax, or a voice – you might have no lead guitars, or three of them – there was no formula like the formula “two guitars, bass and drums” for rock music, that really applied to prog, and that is possibly a good thing – because that meant that prog could be represented by some very, very different musical outfits, yet somehow, still be one genre.  I’m damned if I understand how it’s supposed to work, because I just can’t see what some of these bands have in common!  and some of them are so strange and so unique, that they probably ought to have had their own genres – but, when in doubt – just call them “prog”, and that sorts it all out.

having actually…been there in the 1970s, and witnessed certain watershed events like “tales from topographic oceans” and “the lamb lies down on broadway” performed live in the day, means that the recent, and not so recent, resurgences of prog, in the 1990s, noughties, and the tens, are simultaneously making me feel very, very old, and at the same time, baffling me greatly.  I mean, don’t get me wrong, I am very, very glad indeed, even grateful – as if what we knew all along has finally been vindicated! – that an entire new generation (or two or three generations, actually) of music fans are suddenly hugely in love with the current version of yes (astonishing!) – the one with the lead singer from the yes cover band – yeah, that yes – and are discovering the amazing music of all the bands mentioned in this article, and so many more that I did not mention – I think that is fabulous, and this means for those prog bands that still exist, they are getting some long-deserved recognition, after having to ride out the punk / new wave anti-prog rock backlash of 1976 / 77 / 78 and beyond – and that’s fantastic. it must feel so good, to the chris squires and steve howes and john wettons – to now suddenly find themselves lauded as musical heroes, after struggling for so long to get any recognition at all.

speaking of john wetton (possibly my personal favourite bassist of all time) – on my latest CD / download release, “gone native” (pureambient records – 2012), I wrote and performed a progressive rock track that honours the spirit of his playing, entitled “wettonizer”…so in a very, very tiny way, I hope, that I’ve added something to the progressive rock genre.  “gone native” contains three or four prog tracks, a handful of rock tracks, and a few improvs,  loops and experimental music too, and this is the first time in 41 years that I’ve recorded and released any songs in the progressive rock style – but that is only because I chose a very different path – ambient loop guitar, and it’s only been recently that I had the time to sit down, compose and record some “songs proper”.

some of those musical heroes…didn’t make it, too many to list – including peter bardens of camel, more recently, the very talented peter banks of yes, are not here to enjoy the latest resurgence of camel or yes-mania.  and that is indeed, a shame.  some of these bands are still here, in the same incarnation or very nearly the same as their original incarnation (van der graaf generator being one prime example, although they are down to a trio now – but what a trio!) and are actually playing at a level equal or better than in the day.  that’s mostly down to huge improvements in technology, so while in the 70s it was mellotrons breaking down, underpowered pa systems, and failing electronics…now it’s customised electronic organ / synth / mellotrons that never break down, and that sound absolutely amazing; pedalboards that actually work (most of the time…) and so on. current music reproduction technology, to a child of prog like myself, is absolutely unbelievable and astonishing, guitar and synthesizer magic…

so I am very happy for the surviving members of these bands, that their music is being hugely celebrated by succeeding generations of music fans, who have listened, and realised that the progressive rock music made between 1968 and 1978 is very special indeed, of a unique and unforgettable era (that amazingly, I grew up in) and that’s fantastic.

what’s more difficult for me to get used to, is the progressive rock bands of today.  I really struggle with most of them, because for me, anything they play – anything, no matter how good, no matter how clever, I am afraid I can point to each section and say “that’s stolen from genesis song x, that part, is a rush track y, that section there, is king crimson from track z” and so on…every bar of music, seems derivative, seems borrowed or copied from SOME record made between 1968 and 1978.  because really, I don’t think there is a lot of point in trying to improve on something that is impossible to improve on.  that music was of a time, and it was created by a bizarre set of musical coincidences that can never recur…so in a way, while it’s very, very flattering to the bands in question – in some ways, I don’t see the point in having new prog bands now, in 2013 !  this is just an opinion…please, no flame wars !! 🙂

I am not saying there shouldn’t be prog bands now – I have no issue with that, but for me – it’s difficult.  because while most people listen to a current prog band and hear something original and wonderful…I hear the albums from which they have copied, or adapted it, usually in a fairly obvious way, sometimes, in a more subtle (better) way – but always, at some point, always, always derivative of the original prog bands of the sixties and seventies.  at least, that’s been my experience so far.  I have to admit, because of that experience, I have been a bit reluctant to really embrace any prog made post 2000. or actually, post 1984…when the 80s crimson stopped performing and disbanded.

in a way, I just don’t…need new prog.  it’s great for young fans, and it’s fun for the musicians, because they get to play in a unique style that is pretty musically challenging.  but for myself…all the music I ever need, was already made in that “magic decade”, where progressive rock was the stuff of dreams, being “pretentious” was a bold and outrageous move, and prog rock ruled the earth.  I’m still discovering prog gems from the time, that I missed, or could not afford to buy, now re-released on CD forty odd years later. so while I am very, very glad that prog is “back” – for me, it was never gone, it was always here, kept alive by multiple incarnations of king crimson, by the return of van der graaf generator to full time performance beginning in 2005, to the “three friends” gentle giant partial reunions that very briefly saw part of gentle giant reforming as a new entity…

and it’s a good thing that some of these bands persisted.  I never got to see the sixties or seventies king crimson.  but, in 1995, at an outdoor concert by the double trio king crimson – I finally got to hear king crimson play “21st century schizoid man”.  I’d seen peter hammill solo shows, but had missed ever seeing van der graaf generator in the day – until one day in the late 2000s, I saw the classic four man lineup play a full concert in glasgow, and later, saw the trio version in manchester – and these modern versions of crimson and van der graaf are even more musically astonishing than the original early lineups.  van der graaf have even made several new studio albums which stand up very well when compared to their 70s output, as did king crimson.

after missing them in the 1970s, I finally saw dutch prog rock sensation “focus” live in glasgow in 2009 or was it 2010? – and they were absolutely amazing.  a fantastically talented and capable band, still led by thijs van leer, who is, without a doubt, a musical genius; while my favourite focus alumni, from the early 70s incarnation of the band, drummer pierre van der linden was absolutely spot on, it was so good to hear pierre’s meticulous, clean, precise drumming behind thijs’ “organ and flute” once again – and the two younger members of the band, were utterly equal to the task.  remarkable.

so the legacy of prog has moved forward through time in the hands and hearts of the original players who made it happen in the sixties and seventies…the visionary musicians who made progressive rock great then, and are still very much the masters of it now – the robert fripps, the peter hammills, the andy latimers, the richard sinclairs…the thijs van leers, still carrying that amazing musical legacy forward into the 2010s…

I can hear the skill and sincerity of modern progressive rock bands.  I can admire their instrumental prowess. but I really struggle with the actual music, because the form it’s based on, means that it almost has to imitate directly to even be “prog” – the apple has to fall far too close to the tree for their music to “sound” prog.  don’t get me wrong – there are a huge number of very, very adept, skilled progressive rock bands, from across the last three decades, from spock’s beard to steven wilson (oh he, the great re-mixer of the king crimson catalogue – all hail steven!) to dream theatre to pendragon to the mars volta to echolyn to glass hammer to the flower kings…prog bands from the 80s (like marillion, for example), 90s, 00s, and the current decade – the 10s, I guess we call them.  an enormous list that this is only the beginning of – which shows that there is so much love and respect for the music that is responsible for almost everyone in that list – progressive rock!

but – I am afraid that for me, the passage of time is just too long – I am very glad that prog, both old and new, seems to be having a fantastic resurgence, particularly right here, and right now, in march, 2013, but for me, as spectacular and as impressive as some of the new prog is…from porcupine tree to neal morse and beyond – for my personal taste, it’s just too derivative, so when I hear it, all I can hear is the 70s prog band that inspired it – whichever one or ones it is – which makes it more difficult for me to enjoy it for it’s own sake.  I don’t dislike modern prog, at all, I just…don’t need it 🙂 so when I witness a remarkable resurgence – which is two pronged: many, many new prog bands playing music that honours and compliments the progressive rock music by it’s imitation (and if you are going to imitate a genre of music, you can’t go far wrong by imitating progressive rock!) as well as, many of the originals, from the 60s and 70s I mean – still playing, bringing in whole new generations of fans, the original fans’ children and grandchildren, and who knows, by now, probably great-grandchildren.  and thinking about that really does make me feel as if I am getting old! 🙂

prog is an enormous topic.  I’ve just written over seven thousand words about it, and I’ve omitted dozens of great prog bands, and not touched on many important aspects of prog, but it’s the endless level of detail to be found within the music that continues to fascinate fans of the music old and new. I still listen to a lot of the records I mention in this article, and sometimes, even though I’ve heard a track a hundred times in my lifetime – I hear something new that I never noticed before.  a strange counterpart, or unnoticed rhythmic change – a strange sound you never heard before.  and of course remasters and re-mixes, and a good pair of headphones, can reveal musical details that were missed on previous “listens”! and CD only bonus tracks, for example, the “wind session” included on the remastered “in the court of the crimson king” deluxe box set, reveal much about the creative process that was not apparent from just hearing the original album…in that case, revealing in fascinating detail (complete with the band and engineer’s studio chatter from the actual recording session) how the famous sound effects that precede the studio version of “21st century schizoid man” were created.

scholars and aficionados argue about what the “form” of progressive rock is…and depending on which progressive rock bands you listen to – those “forms” can range from mini-classical suites, to modified and enhanced verse-chorus-verse forms, to the extended improvisations that might speak to the classical tradition or to the later jazz tradition, lyrically, prog is all over the place – king crimson’s peter sinfield (my favourite prog lyricist of all time) wrote epic poems (such as the title track of the band’s fourth studio album, “islands”) which were then set to music, while rush was unusual in that their drummer wrote all the lyrics, some prog bands depended on outside lyricists, not only king crimson, but procol harum is notable as well in this aspect with pianist gary brooker writing the music, and lyricist keith reid writing the lyrics – other bands had a lyricist or two in the band – van der graaf generator had peter hammill, as well as the absolutely remarkable, eccentric talented musician chris judge smithpeter hammill has covered a number of judge smith songs on his solo albums, long, long after he left van der graaf, and hammill often performs judge smith songs in live performance.

some prog bands go for the long form, with many extended interludes, additional verses, long solos, including some interminable drum solos that are difficult even for the fans to take! while other prog bands feature much shorter, more “normal” or “song-like” works.  classical influences are common but not mandatory, some prog acts seem to have quite a bit of jazz influences, others, hardly any… the only consistent thing about the “form” of progressive music, and also, the only consistency about what instruments were used to create it…is their complete and utter inconsistency.

but perhaps – that’s what makes it magic.  the fact that one band can have a one-legged flute and acoustic guitar wielding eccentric singer at the helm, while another was led by a very determined young guitarist with a particular vision of being in the best band in the world…and for a short time during their heyday in 1969, king crimson arguably were that band.  or maybe you just liked to do endless spacey jams, surrounded by science fiction lyrics, as the founder of gong, daevid allen seems to do, with a whole mythology around “planet gong” which was recently revisited in a very successful follow on album to their classic album “flying teapot”, entitled “2032”.

anything from the loosest, jazziest 20 minute improv, that you might get with can or the soft machine or any number of prog bands;  to the most incredibly practised, precision musical callisthenics (examples might be the “precision part” near the end of king crimson’s famous prog anthem, “21st century schizoid man”, or some of the guitar/bass/organ/drum precision work in the side-long “eruption” from focus’ breakthrough 1971 album “moving waves”  – which is sometimes also known as “focus II”, depending on the country of release) – in prog, just about anything goes! so the form, and the content of prog – is quite variable.  just about any configuration is possible, and there are some strange ones out there – the current line up of van der graaf generator is drums, organ/synth, and piano – or, electric guitar, depending on the song – so it’s quite odd, to see two keyboardists and a drummer producing prog rock, when genesis required drums, keyboards, bass guitar, lead guitar, and a lead vocalist to do the same thing.

a few examples of what in the world of rock would be called a “power trio”, guitar, bass, drums – rush takes those same well known instruments, as popularised in the rock world by the two most famous power trios of all, cream, and the jimi hendrix experience – and make intelligent, articulate, and very recognisably prog (with a bit of hard rock thrown in for good measure) …using the same three instruments that used to be the backbone of the hard rock power trio. technology helps, cream and jimi hendrix had a very, very limited palette of guitar pedals to use in live performance – three, basically: fuzz tonewah-wah pedal, and later, univibe (a device that imitates a rotating speaker). that was all they had, every other sound had to come from hands, strings and marshall stack – that was all they had.

fast forward 10 years, and in the 70s, the now common pedalboard started to make it’s appearance, the beatles (originally calling their chorus device “adt” for “automatic double tracking”) and jimi hendrix both had a hand in the development of modern effects such as chorus, flanging and phasing…and even in the early 70s, guitarists had a huge palette of sounds to choose from – but of course, each decade since has seen music technology leapfrog to newer and better sounding gear, it’s now gone beyond belief what you can control from one guitar and one pedalboard – it’s far beyond “guitar”. I’ve made this transition myself, from electric guitar and amplifier, with the crudest fuzz, wah and echo devices – to guitar synth controlling multiple pedalboards and effects – on three or four different signal paths – and it’s still something that I am still getting used to.

so technology enabled rock players to grow their sounds in many new ways, many improvements were made to the sound of the bass guitar, keyboards and in particular, synthesizers; that technology in particular, grew out exponentially, so during the last half of the lifetime of progressive rock, gear was changing so fast, so many new sounds – anything from compact guitar pedals, to the first guitar synthesizers, to the invention of the e-bow or energy bow, to the invention of “loopers” so musicians can capture digital recordings of what they are playing live, and layer many guitars or keyboards atop each other – those changes happened at the exact right moment for progressive rock musicians to take full advantage of.

so when I see all the excitement around this progressive rock cruise ship that’s about to embark on what surely must be the strangest holiday of all time, yes and several other prog bands on an ocean liner – how very odd that is – but I am glad, because new generations of yes fans get to enjoy the current version of yes – whereas, I don’t need to go, because I saw the real yes in 1974.  and again in 1977 (and while I want to deny it, I want to pretend I didn’t go, and it was the last time I went – I also saw the dread “drama” tour in 1980 – which I am afraid, put me off yes for many, many years afterwards…).  so it’s strange to me – but it’s OK.  for me – that magic decade is all I need, because I was there.  for folk younger than me – that could not be there, or can only experience it via video – well, this is a chance to connect with an amazing time in musical history.

and surely – that is a good thing. 🙂

king crimson – larks’ tongues in aspic (40th anniversary super deluxe edition) – the album I almost didn’t get

more three months after the rest of the world, i’m finally enjoying my super deluxe 15 disc edition of king crimson’s seminal 1973 album, “larks’ tongues in aspic” – the 40th anniversary version.

despite the difficulties I had in acquiring the super deluxe 14-disc larks’ tongues in aspic cd box set, in sitting down to listen to it, well – it’s worth the wait – it’s worth any wait – and as the last of the 40th anniversary series from the “classic” crimson period (1969 – 1974) (save – “USA”, which has been through various re-issues, currently up to 30th, not sure what the future holds for “USA”). I can see why they took their time with it – it’s a massive undertaking, basically, it compiles every single note ever recorded by the quintet version of the band: robert fripp, john wetton, bill bruford, david cross, jamie muir.  every note ever recorded !

I won’t delve into a lot of specifics here (although the temptation to do so is overwhelming – there are a lot of remarkable performances in this box!) but instead, will attempt to speak in generalities – which, when faced with 84 pieces of music that revolve around one album, is really all one can do – well, to start, I will offer just two words “astonishing musicianship”.

at a time when most rock bands worked in a very, very predictable and formulaic way, king crimson worked in reverse.  so, where most rock bands would go into the studio, write music, record music, and then go on tour in support of that record – fripp’s idea of how a band should work was completely different, completely innovative, and very, very intelligent: – and, the proof is in the pudding – the concept is simple, but it works:  while on the road, develop songs, play them in, improvise on them – and then, once you know the repertoire inside and out – then, and only then, go into the studio and record the material.

brilliant !  so the six tracks on the album were all pieces that the band had been playing for a number of months…honed to perfection, battle-tested, altered, mutated, fully road-tested until the perfect incarnation could then be conceived and executed once in the studio.  this approach actually makes a lot of sense, because you work out all the issues in the songs on the tour, then you sit down in the studio and say, “OK, what have we learned about this song over the past x months  – how does “easy money” go?” – and, instead of talking about it – they can just play it until they get the version they want.

so it’s fitting that first, you get to live with the band for several months, in an astonishing series of live recordings, some only recently unearthed, as they “work through” these songs, and at the same time, have a blast playing long, complex and sometimes bizarre live jams of almost indescribable variety and consistency.  how much live material ?? – well, if you download the bonus two-disc live show that you get a coupon for in the box (including a disclaimer concerning it’s very poor sound quality – but, it’s a good show, so I am glad I downloaded it…), you end up with exactly 60 live tracks, which start with the band’s first live gig at the zoom club in germany in october, 1972, and ends just prior to the recording of the studio album itself in early 1973…

the remaining 24 “studio” tracks are divided up as follows: a copy of the 30th anniversary mix (the original mix remastered for the 30th anniversary), the 2012 new mix of the album, a full disc of alternative versions (either alternative takes or alternative mixes, including one incredibly revealing piece – the jamie muir track, solo, of his performance on “easy money” – an astonishing revelation, which clearly shows what an important part muir played in creating the extremely unique percussion sound that this band had) – and, finally a fascinating nearly 80 minute “session reel” that contains the first take of each piece on the record, as well as various run-throughs and bits – absolutely fabulous stuff.

so – a record with six songs, represented by a massive box set, 15 discs, 84 songs, (the box also contains various 5.1 mixes, a video shot in Germany, in both regular and blu-ray flavours – and hearing the album in 5.1 is yet another remarkable revelation, I can tell you that for free!).  those six songs had a lot that went into them, and if you sit down and listen to the 60 live tracks spanning some five months, you hear each one of those six songs go through transformation after transformation – and, you begin to understand how they came to slowly mutate into the final form that they eventually reached in the studio.

even if you follow the journey of just one of the songs, from the shortest “book of saturday” – also known as “daily games” – or a song like “easy money” – the amount of creative change that the pieces go through is astonishing.  you can just about imagine the band meetings after the gig – “OK, that went…OK tonight, but tomorrow, we are going to try doing it this way…” and, night by night, the songs…improve.

sometimes they take unusual courses to get to their final form, changing, and changing again, some early sections end up disappearing altogether (as in “easy money”) while others have more subtle refinements on their path to the making of the actual album.

but there is a lot to be said for fripp’s method of “playing in” a record in the live setting, and he went on to do this successfully with many, many different versions of king crimson over the years – playing the material live first, and then recording the album…it just works!

having said that, it might not work for other bands, it might only work for king crimson – that’s difficult to say.  I don’t know what other bands may have tried a similar technique, but certainly, some very famous albums are mostly “road” albums, written on the road, learned on the road, then recorded in the studio (led zeppelin II leaps to mind) – but I think in the main, most groups stuck to the “formula” – i.e. they did what the record company said, “make the record, then go tour it and make us a million dollars”.

it’s a credit to fripp’s integrity that he refused to tread that well-worn path, refused time and time again, and the albums produced by this “working in reverse” method are a testament to the method’s success – larks’ tongues in aspic, and it’s followup, “starless and bible black” – another largely live album – are two prime examples of this technique working very, very well indeed.

but getting back to the matter at hand – sixty live tracks of the quintet 1972 – 1973 version of king crimson.  60 tracks of any band live is a lot to wade through, but if you have the patience (and in some cases, it does require patience – the majority of these shows are restored audio bootlegs – from cassette – so sound quality is sometimes an issue) it’s a more than rewarding ride.  some of the live CDs have been available before, either as crimson club releases, or as downloads from dgm, some, are heard here for the first time anywhere – but as always with every version of the band, what you get is…amazing musicianship. truly amazing musicianship!

this band was put together very, very quickly indeed, before the ashes of the “islands” line-up had even cooled – that band stopped performing live in early/mid 1972, and by october 1972, fripp had re-formed (mostly via a chance meeting with wetton) this entirely new line up and had them out and playing by october 1972 – there is apparently, no rest for the wicked.

and while I personally have huge, huge respect for the “islands” band line up, I can’t deny that the “larks’ tongues” line up is a dramatic upgrade in terms of sheer musical prowess – fripp now attracting the best young players of the time, and the group he gathered around him this time is no less than magical.

the fierce, aggressive power of wetton’s bass playing, which spans an incredible range of emotion – from beauty to fear to raw power and back to beauty again – alone is remarkable and unique and unlike anything you will hear anywhere else in rock, but add to that, a man with a beautiful, smoky voice capable of expressing great emotion (some of the takes of “exiles” or “book of saturday” are just heartbreakingly beautiful – wetton’s voice is so, so beautiful – something not too many people notice) – and you have an incredibly talented bassist / singer, and a very experienced, capable player as well (coming most recently from 13 months with family, and a long string of other bands prior to that, wetton was a seasoned veteran by the time he and fripp decided to finally form a band together (something they had discussed numerous times previously, but never did until 1972).

bill bruford’s musical pedigree can hardly be argued – and his move, from leaving the very, very successful “yes” to join the totally unknown, “dark horse” that this brand new king crimson incarnation represented, has often been remarked on – but, bruford is primarily interested in music, so he went where the music was likely to be best, not where commercial success was in the offing.

speaking of “dark horses”, the two other new members of this new band, david cross on violin, flute, mellotron and electric piano, and jamie muir, drums, percussion, all sorts – well, while neither was as well known at the time, but when you hear the live tapes, you will immediately hear how crucial these two “dark horse” players’ contributions are – particularly muir, whose strange stage antics, and ever-increasingly large collection of kitchen implements and sheets of metal and so on threatened to make the band’s set up the longest on record – muir’s contribution to these performances is incalcuable.

a track like “larks’ tongues in aspic part I” would be nothing without muir, and in the video, you see why – he is a whirlwind of percussive motion, and yet, on cue, lands on the drum kit seat to bash out the power chord coda of the track along with a frankly admiring bruford – for bruford, muir represented a kind of free playing that he himself could not quite get to until later on, long after muir left the band.

the fact that muir left the band after only a very short time, meant that this line-up was very, very short-lived indeed, measuring in months, and leaving the band to the more familiar quartet line-up that went on to tour and record the next crimson record, “starless and bible black”.  when it all became too much for david cross, the band ended up life as a strange, progressive rock power trio, for their final (studio) release “red” (and, posthumous live document “usa”, too).

some might argue that the three of them – fripp, wetton, bruford – were the core, and – yes, they were, but in the case of larks’ tongues in aspic, it was really more about those five people coming together at the same moment, to make the music that was in the air – and I really feel that both david cross and jamie muir have tended to have their roles’ downplayed – but I am hopeful that with this extensive “proof” (which is exactly what this super deluxe box is) of just how good this band was live, that opinion will change and we will understand that this was indeed, a quintet, not a power trio with two extra players!

having only ever seen the original beat club broadcast verison of “larks tongues in aspic part 1” video prior to owning the LTIA box, it was a revelation to see the properly filmed version (along with two other full tracks that are on the included mono video) because I’d never really realised just how much real drums jamie muir played (and he plays trombone on stage t00 – amazing!!) – and he and bruford together, were for robert fripp, replacing the long-departed michael giles – whom fripp has said could not be replaced with one person, so he decided that the only way to get the drum sound he wanted, to replace what michael giles had brought to the 1969 king crimson – was to work with two drummers.  it’s a testament to both giles’ skill as a drummer and the level of fripp’s respect for giles as a musician, that it took two drummers of the calibre of bruford and muir, two excellent drummers, one, a brilliant percussionist, too – to replace him – that’s quite a compliment from fripp, really.

musically, it works.  two drum kits sometimes, at all other times, one drum kit and one most unusual collection of percussion “instruments”, many of which were found percussion items, sheets of metal, kitchen implements, and so on – non-traditional percussion implements – was just what the 1972 king crimson needed to set them apart both live and in the studio – and, set them apart, it did.

in some ways, it’s a shame that it only lasted for one tour and one album, but at least we have that – and now, it’s well, well documented (the box includes a long interview with robert fripp, as well as a most excellent essay from king crimson historian sid smith) – but really, to fully understand the contribution of jamie muir, you need to see the full film, and also, to hear his performances on the live shows and in the studio – the solo alternate version of easy money, which is just muir’s part isolated, is remarkable – I’ve never heard anything like it.  so personally, I would not have minded another tour and another album including jamie – but, it was not to be.

what about the guitarist then?  I would not know where to begin, fripp here has upped his personal game once more (the one about playing guitar from an intelligent standpoint), building on what he learned during the lizard / islands era, and, with a very different kind of band, sets out here to bring a new kind of fripp guitar to the proceedings.  for me, in some ways, this was the first time we really heard fripp let the cat out the bag – sure, we heard some of it in the live 1969 concerts, but here, he has four more years of playing experience to draw on – and draw on it he does.

I will never forget the day I first heard this album, at about 8 am in the morning, I bought the cassette and drove over to the drummer in my bands’ house – we put it on – and when that first set of power chords came in, we about jumped out of our chairs – this record was something else.

for me though, as a guitarist, to hear fripp’s solos, chords, comping, jamming, bending, scraping – he does it all – but this time, for the first time since greg lake, he has a musical equal in the band – john wetton.  wetton’s proficiency on bass is arguably better than lake’s (no flame wars please, I love the bass playing of greg lake, he is amazing – I just happen to slightly prefer wetton! – personal preference only), although they are both very, very good players, for my money, wetton is the more creative player (despite it being lake who came up with the nearly impossible bass part for “21st century schizoid man”) and I think that fripp and wetton had a much longer time together to really work out their style together – as evidenced by the blistering very late 1974 live recordings, such as “asbury park” from the USA album – by then, wetton and fripp are like a well-honed improvising machine – but even back in 1972, and all through 1973, the two soloed, harmonised, battled, clashed, flowed, dreamed and worked beautifully together – fripp on lead guitar, wetton on lead bass.

sometimes though, that would be wetton on melodic lead bass, and fripp on flute mellotron.  or other unusual combinations…but with fripp on lead guitar, and wetton on lead bass, with those amazing fuzz tones and monster bass cabinets – that’s the set up that I prefer :-).  I think fripp solos with such confidence and authority on these recordings, and indeed, throughout the life of this band in all of their incarnations – and that confidence immediately rubbed off on wetton, who felt challenged and then upped his own game considerably.  I think that they challenged each other, so the higher fripp flew, the higher wetton flew, and vice versa.  unavoidably, this results in some insanely amazing guitar/bass solos, some of which are just unbelievably fluid and well executed.

moments of peace though, are equally important, as evidenced by many, many lovely versions of “book of saturday” (aka “daily games”) where fripp plays quiet, complex chord based guitar, and wetton sings and plays melodic bass – a very quiet, very beautiful musical space (and personally, my favourite piece from the album – and somewhere, eventually to be put up on the blog companion page – there is a live performance of byran helm and I playing “book of saturday” together at a bindlestiff gig).

or on the beautiful “exiles”, again, a pastoral, beautiful, melodic song with great lyrics from the rarely mentioned lyricist, richard palmer-james (a school friend of wetton’s), who provided really lovely lyrics for this record.  wetton and palmer-james worked together on the songs, and both “book of saturday” and “exiles” are beautiful examples of their work together.  fripp’s guitar contributions to those two tracks are the icing on the cake, and I love those two songs in some ways, above the “loud” more obvious choices that a lot of other fans might choose.  “book of saturday” in particular has a very special place in my heart, since I worked for so many weeks on learning it (and while I could play it, I couldn’t really play it correctly or very well – ever!) it is deceptively difficult – as fripp guitar parts often are !!!

on the earliest live quintet recordings, wetton sounds like he’s just been released from prison (note, I am not suggesting that the bass player role in the band family is akin to prison!) – he is a bit wild, he sings along to his bass lines as if he is a jazz bassist, he is soloing in an almost uncontrollable way – singing really powerfully but almost in a very funky way at times – the very first shows are extremely strange! but as time goes on, wetton very quickly finds his place, and he begins to calm down, and fit in – and that’s when the magic happens.

by the end of the quintet, wetton had moved from world-class bassist to universe-class bassist…which is where he’s been ever since.  and really, in 73 and 74, he reached even more dizzying heights of bass playing.

I know I said I wouldn’t single anything out, but “a boolean melody medley” (taken from the november 25th performance at new theatre, oxford, uk) is one live track I do want to single out – coming out of a performance of “book of saturday”, the band move into this amazing piece of quasi-classical music, and suddenly, this band is transcending, I’ve never heard anything so beautiful…wetton is playing beautiful, melodic bass while fripp and cross soar over the top with the most gorgeous, astonishing solos I’ve ever heard either do – fluid, beautiful, astonishing – and the two drummers are quietly playing along, almost afraid to intrude – and for me, it’s moments like this, that it all becomes worthwhile – for every slightly dodgy improv, for every slightly imperfect moment that can and does occur in other king crimson live shows – when you get an improv THIS beautiful – this is what it’s all about.  sigh.

this piece was new to me, and it’s as if “book of saturday” suddenly-yet-gradually “turned into” this giant, beautiful improvisation – it just floors me, completely.  it moves from quasi-classical, to a bass solo, and then an almost jazzy kind of jam – but it’s just stupendous, and all five players are amazing on it – I cannot recommend this piece more highly.  it goes completely wild, and then somehow, near the end, the quiet part returns – or a quiet part returns after it had reached maximum sonic madness – and it then quietly wends it’s way along towards it’s conclusion – after an astonishing twenty minute improv – the conclusion is to seamlessly move into the beginning of “exiles”.

so – the band are basically playing the three songs that made up what was “side one” of the vinyl album, in the same order as they appear on the album – with the slight detail of an impossible, beautiful, classical, jazz, rock, improv – a 20 minute improv – appearing out of nowhere, being placed between “book of saturday” and “exiles” – that is just nothing short of remarkable.

and to me, the bit where they move out of the improv, and then moving onto to “exiles” as if nothing had happened – that is sheer genius.  not to mention, that the band had only played a handful of shows at this point in time, they had been on the road for perhaps, five or six weeks, when this miraculous piece of music appeared – that’s astonishing – some bands practice and perform for years and never play a blinder like this one. a totally awesome, totally amazing, totally beautiful piece of music!

moving back to the world of generalities, generally, this band played very, very well live – sure, there were problems, for one, the tuning between the electric instruments and the acoustic violin was often a problem, as of course was the problem of the tuning between two mellotrons, and between said mellotrons and the rest of the band – but, for the most part, this is not a problem – just occasionally, and the violin is notoriously difficult to keep in tune in the fast moving environment of progressive rock or jazz rock.

unfortunately, when they filmed the video, the first long improvised piece, “the rich tapestry of life” is quite out of tune at the start, and takes a while before it gets a bit more in tune – but that’s life, it’s just the way it goes – at least there is film of the band – the first time, really, that this group was ever properly filmed – otherwise, we have nothing except the french television performance that was included in the “red” 40th anniversary box set, but that’s a much later version (1974, near the end of their seventies career) of king crimson.

from the classic 1969 band, there is that tantalising clip from the hyde park gig – less than a minute of footage I think, a tiny excerpt from “schizoid man” that the TV crew happened to film – which has since been synced to it’s bootleg sound – from the next three records – nothing – except perhaps the odd tv clip here or there – this time though, you get three full tracks, including one very long improv – so this film does add significantly to the recorded visual history of king crimson.

I should also mention here, from the long, long line-up of live performances, an incredibly spirited performance from glasgow, from december 1, 1972 – where the audience are louder and more vocal than on any other performance (scottish audiences are not renowned for their reticence) but this, uh, verbal communication from the audience, spurs the band onto a brilliant performance – so sometimes a bit of heckling can have a very positive result.

at one point one audience member gets a huge round of applause for swearing, which I must admit, is a much loved pastime of “we scots”.  even as a transported/imported brit, I find myself swearing much more than I used to, since emigrating to scotland nearly ten years ago – I do swear more than I used to.

this glasgow gig contains a variant of “a boolean melody medley” with the even more unlikely title of “a vinyl hobby job”, which ends up more like a scottish reel, with a long, droning violin section which is quite lovely and quite hypnotic – a very different version from the original done at the oxford show; but starting out in a very similar way – moving from “book of saturday” into the boolean improv, but this time taking a very different path indeed, featuring an excellent performance by cross – playing in a way I’ve never heard him play before or since – most excellent.

the glasgow show has a completely different feel to the other shows, during “exiles”, fripp plays a normally distorted guitar solo with a much cleaner guitar tone; then we have the very violin-centric drone/raga improv, it’s just an odd gig – with a very vocal audience!

at this point in time, december 1, 1972, then, jamie muir had only a handful of december gigs, the making of the album, and one gig only afterwards before he left the band for good, to retire to a scottish monastery.  it’s odd to think that only a few months in…he was already on his way out – but his participation, particularly in the recording of the album, pivotal in live performances – is key, so while short-lived, it’s still amazing the contributions jamie muir made to the band – on stage, the “wild man” of king crimson, biting on blood capsules and spitting blood, smashing his pieces of metal plate…in the studio, innovative to the highest degree – and ultimately, not cut out for the rock and roll lifestyle (as so many of us are not).

I about fell out of my chair when I first heard his tour de force one-take live percussion run through for “easy money” (included as the “alternate mix” for that track on the “alternates” disc) – you don’t realise when you listen to the finished track just how much input muir had into that track – but when you hear his “solo” performance of “easy money” – which is absolutely impossible to describe with words – it all makes perfect sense.  “my my”…

it’s not really surprising though, that muir left after just a few months as part of the quintet version of king crimson – I am sure he fulfilled his desire to have a brief dalliance with the rock world (coming from a very sort of avant garde/experimental musical background) and I am sure he had a blast playing with bruford and the rest of the band, but the level of energy, the level of commitment – it was probably quite exhausting, so I think he had just had enough, and decided to go.  there was some kind of injury, too, a broken ankle on stage or something, which probably tipped the already-weighted scales.

muir did re-emerge briefly, once, in the 1980s, curiously, to record an album with ex-crimson alumni michael giles in about 1983, titled “ghost dance” but beyond that, after his short but very memorable time with king crimson – he left music behind, never to return.

and then there were four.

those four still had another 18 months of music ahead of them, including, for the quartet, the followup to “larks’ tongues in aspic”, 1973’s “starless and bible black”, and for the trio, two albums, 1974’s “red” and 1975’s posthumous “USA” (david cross appears on all of the tracks on USA, but tracks 2, 3 and 7 included “in the studio” overdubs from violinist eddie jobson – for reasons never stated).

but for many, it’s “larks’ tongues in aspic” that resonates the most, and until now, I never really totally understood why it stands apart from the rest of the 1972 – 1974 king crimson’s catalogue – and really, the reason it does boils down to two things: the presence of one very remarkable individual, jamie muir, who took the percussion and drums side of things to a new extreme, and, the combination of those five men in that place at that time – those two factors, made this album what it is – one of the best and most unique examples of forward-thinking, intelligent, truly progressive rock – a masterwork of the genre.

the 40th anniversary version of “larks’ tongues in aspic” is available in three different versions, although the super deluxe box set is a limited edition of I believe, 7000 – and I very nearly didn’t get one – dgm managed to lose my copy in the post, and then failed to replace it (for reasons I will never understand) which eventually forced me to cancel my order, and buy it from a more reliable, local vendor – who delivered it in one day, on a saturday.  the abject failure of dgm to honour my order (which was one of the very first placed, a pre-order in fact, which should really guarantee you a copy) very nearly caused me to not get a copy – which would have been disastrous indeed.

my “box of saturday”, if you will 🙂 – delivered by the best and most reliable vendor ever: amazon.  utterly dependable.

I feel really disheartened by what happened, it has really disappointed me pretty seriously – it was so, so important to me to make sure I had reserved a copy, so I was first off the mark – I rarely ever pre-order anything, but it was that important – and what did that pre-order get me?  absolutely nothing; sheer frustration; months of waiting, with no product ever delivered – and after having to wait all that time, I then had to cancel the order and re-order it from amazon – just to be SURE that I got it…that’s really pathetic.  and can you imagine how heartbroken I felt, each time one of my friends across the world would post a picture of their happy, smiling face, holding aloft the box set – the one I very, very nearly did not get?  it was, shall we say – most upsetting!

so I decline to celebrate, you will not see me holding up my copy in victory, because that moment came and went a long, long time ago – and listening now to it, the happiness I feel at hearing this music will actually be, ever so slightly, forever marred by the nerve-wracking, anxiety-inducing “experience” I had of trying to chase up my “pre-order”.

…but – luckily for me, there is that “little shoppe on the corner” (called “amazon.co.uk”) that is very dependable, very reliable, and they got me my copy in 24 hours – after waiting in vain for over three months and repeatedly receiving nothing whatsoever from dgm – so at long, long last I can join all my friends who have been listening to and enjoying the album for the past three months…I’ve finally caught up with you.  I am finally getting to see and hear this record.  for a while there, during december 2012, there was a time when I began to believe I might NEVER hear it – until I wised up and ordered it from a reliable vendor 🙂

meanwhile, since I began listening to it last Saturday, it’s hardly been off heavy rotation – and I am currently listening to all 60 live tracks in chronological order, which is a remarkable experience in itself, to say the least!

the 5.1 mixes, too, are an absolute revelation, and I could sit in that sound field forever listening to music that is utterly familiar, yet, configured in a new and very unfamiliar way – with fripp’s ominous power notes at the beginning of “larks’ tongues in aspic, part I” slowly revolving across all five speakers – a wetton bass part emerging behind me – just beautiful, and steven wilson deserves all the praise the world has been heaping on him – as does robert fripp, who also worked on these mixes along with wilson.

the video, while not of my personal favourite live performance, is essential, if not at least so that you can visually see just how important both cross and muir were to this line-up – in fact, muir is so visually interesting, that the camera spends most of it’s time on him – and wetton, you hardly see at all, by comparison.

the new 2012 stereo mix – well.  it’s beautiful.  I love it.  but for my money, you cannot go wrong with the steven wilson / robert fripp team, they have done a stupendous job on every one of these 40th anniversary re-issues, and this one is no exception – it’s very possibly the best, although personally, I would say that “in the court”, “islands” and “larks’ tongues in aspic” are all tied for first place…in the “most absolutely stunning, astonishing, amazing and thorough re-issue” category.

so as robert fripp wends his way up the scale for an amazing lead guitar solo in the live verison of “easy money” from december 1, 1972, from the glasgow green’s playhouse (a really unusual and remarkable live performance, with a lot of audience interaction), I go now to immerse myself in the never-ending live world of “larks’ tongues in aspic”…a beautiful experience from any and every angle – and, with up to 60 live tracks and 24 studio/live tracks on offer, you can’t really go wrong – it’s all good.  I mean – it’s king crimson, after all :-).

I waited a long, long time for this record, and then I was made to wait three months longer than that, but now that I finally have it, I would have to say it takes the prize, it’s all folk have said and much, much more, and I am happy to add my voice to those who support it – a most excellent effort indeed from team wilson / fripp – bravo!

highly recommended.

scape – week three – a new spoken language emerges…

another week with scape, the application…and somehow, not quite sure how, in such a short time, but I find to my astonishment that I now have no less than 502 scapes.

I hasten to add, though, that in a number of cases, if I ended up with a scape that I really, really like,,,that I might well save it multiple times – usually, selecting some or all of the different mood filters, so I can hear it in 7 or 8 different “ambiences” – or sometimes, I might leave the mood the same, and save it with different backgrounds or even combinations of backgrounds.

even so – even with these extra versions…there are still an astonishing number of unique, one of a kind scapes. what a remarkable instrument this is!!!

events this week, well, the usual musical ‘gifts’ have arrived – a new background, some new elements, and so on…and I find I look forward to their arrival with an almost childish delight…

two new elements have arrived in the “spiky blue elements” category, and these two are remarkable – one looks like the top of a music stand, the other, like an asterisk – but all of the blue spiky family of elements are especially cool – because they MOVE when they play back – they are animated!

these two in particular I am really liking, because I wasn’t sure about the first three in this series – they are a bit harsh, a bit more disturbing than any other elements to date. I really struggled to use those first three ‘spiky blues’ – I could and did manage to create interesting enough scapes with them, but – they are a bit…musically uncomfortable (??) compared to most. so it was with a bit of trepidation that I received spiky blue elements four and five – but I need not have been apprehensive.

In fact, unlike the first three, I think they are now becoming some of my very favourite elements of all – and I am living much more comfortably with the whole blue family of elements now as well. my initial discomfort is dispelled and I ‘get it’ now…

another really, really remarkable yellow note element also arrived, this one with the most amazing echo/delay pattern, vaguely something like a really clever delay set up by the edge, only using an eno synth sound instead of a guitar. it has a beautiful, pure tone, and if, for example, if you set just three of these into an empty mood – you get a really lovely cascading, echoing, delayed set of notes that I can just sit and listen to forever…

in fact, that element, and the last few elements (including the whole spiky blue element family!) have had really intricate, amazing delays – and used together, for example, a scape built with this new ‘the edge’ yellow note element and say, some spiky blue elements 4 and 5, yields a wonderful, cascading scape of great beauty,

then, the latest new element, an incredibly quiet, ambient and amazingly beautiful bass guitar sample – that again, on it’s own, just sound astonishing…this is a light grey coloured triangle with two vertical black lines in it – one of the most ambient of samples, has arrived right in the midst of all the dissonance and disturbance of the blue spiky family…fantastic!

last night, another new element made an appearance in the “bells” section, shaped and coloured uncannily like the sun in the painting which is the cover of phil manzanera’s band ‘quiet sun’, the album entitled ‘mainstream’…a really gorgeous delayed bell that I am now thinking of as ‘the quiet sun bell’…

which brings me to comment on eno’s strategy with this tool – everything is hidden. you can’t name your scapes, they are just automatically numbered, and the backgrounds, palettes, and elements don’t have names – so I find, as a user, that I have developed my own language to describe these musical objects. so where normally I might say ‘it’s a sort of basic sine wave synth sound with a lush and complex echo and delay’…

…instead, I find myself now saying “it’s one of the yellow note element family, a u-shape turned upside down, with a clear sine sound with a complex echo and delay…” so since there are no instrument or voice names, just elements represented by coloured shapes – the whole descriptive vocabulary of music changes – and it’s all about colour and shape, sound becomes almost secondary except as a point of reference – the bell sounds are all rounded, and all pinkish-red, where as the note sounds are all yellow, the bass sounds, all black, grey or white triangles – and so on.

when I write about scape, I find myself talking naturally in this strange new language, a scape language, and then I realise, probably, only another scape user will have any idea what I am going on and on about, when I talk about “spiky blue elements” – but if you are a user, you know exactly what I mean 😉

so – it’s been another brilliant week of scaping, a little uncomfortable during the early spiky blue element era, but it’s rounded out beautifully with all the amazing new tools that have arrived since then – and still, so much more to come – I cannot wait to see what will arrive next week…

keep on scaping…502 and counting 🙂

scape – new ambient music application from Opal

today’s session, my second, with scape, the latest ambient music creation tool for the iPad,  was a real learning experience.  I have to say, brian eno and peter chilvers have done a great job on this – it’s miles beyond the very, very excellent “bloom” – eno’s previous application (which I also love!).

as I went to create new scapes, after I completed and saved each one, the app…began to give me advice, in writing !

here are a few of the instructions, or strategies for scape creation, that I noted as I worked…just a sample:

“make space”

“use only the extremes”

“find contrasting textures”

“use colour”

“create a storm”

“create a scape and watch from a distance”

“create a vast empty landscape”

“focus on the background”

“read a book. provide a background”

“as little movement as possible”

“clear skies above a troubled world”

”create three similar scapes and make a playlist”

“highs and lows”

so, I earnestly tried to do exactly what each one said – and I found that I could do what they suggested, in every case !  and the result, in each case, was a unique, vivid, living, breathing ambient atmosphere – a scape.

of course, this brings to mind, instantly, brian eno’s friend and colleague, peter schmidt, and the famous “oblique strategies” cards – and these are of course the kinds of “instructions” that we automatically associate with brian eno – and here they are, updated, but still totally relevant, in a 2012 app for an iPad – and for me, as a novice at creating scapes – I personally find them really helpful and useful, they actually help me to understand what shapes, configurations and VISUAL ideas, will create what sounds – which is invaluable.

and for me – it’s a reward system – I create the scape that the instruction suggests, it works, I listen to it – I save it – and my reward is…the next instruction.  that in turn, challenges me to create very many different types of unique scapes, each in a completely different musical atmosphere – thanks to the remarkable instructions.

and the process repeats – endlessly it would seem.  and I find I am really enjoying trying to do what the instructions suggest – although in most cases, I find it easy to do – you just use your imagination, and visually build what the instructions suggest you build – it’s easy, and fun, too !

if truth be told, maybe because I’ve been playing ambient music for a long time, I don’t know, and, often, I have if not a written set, at least a mental set of instructions for most ambient pieces that I create – if truth be told, for a few of the instructions, such as, ”create three similar scapes and make a playlist” – I had already done that yesterday, on scape day 1 🙂

so I “get” it – but I am excited, I can’t wait to see what other interesting developments there will be, apparently, more and more of the app’s  functionality is revealed as time goes on – which I think is fantastic in itself, I love a nice progression – and “scapes” startsout incredibly beautiful and take you…on a very unique and seemingly never-ending journey that I, for one, am utterly willing to go on – what a sound

I should also mention, the app features a complete album from eno and chilvers, which is a great introduction to “what can be done with scapes” – and, it’s a nice bonus to get a new eno-related album for free in an application!

 

I am looking forward to a time, when I have time to get back into the studio to make music (life, and “gone native”, have so far prevented me from doing so for many weeks, unfortunately) when I can set up “scape” as the live backing, and then loop ebow guitar, or guitar, or guitar synth over it – I think this will be the best combination of an app and guitar possible – better than animoog v guitar synth, better than kaossilator v guitar synth, even better than synth raga – iTabla via various app synths – I think “scape v dave stafford guitar/looping” is going to be so, so much fun – and hopefully, will result in some REALLY interesting, evolving pieces of live, accompanied-by-scape music.

 

looking forward…

 

 

…and I am currently drowning in lush, beautiful, peaceful, tormented, wonderful, ambient, disturbing “scapes” of all descriptions.

🙂

amplitude statistics and unusual ways of mastering…perceived loudness v peak amplitude v the human ear

because I sometimes slightly mistrust my “50-something”-year-old-ears, and, because, by coincidence, I happen to have 26 days left in my latest trial of adobe audition :-), I’ve decided to take advantage of a feature of adobe audition that is very useful – an amplitude measurement tool that you can run on any audio track, that describes it’s sonic characteristics in terms of “loudness” – obviously, it gives you left and right channel decibel readings, in peak amplitude and a lot of other flavours, too;  …sure, that’s the basic thing you want, but it also provides a large number of other supporting figures, including one that appeals to me personally – “perceived loudness”.  not to mention a single overall perceived loudness figure that seems to be based on to a british standard…

I’ve always had a soft spot for analysers (or “analyzers” as I grew up calling them in california) – I worked in an electronic test equipment repair and calibration laboratory when I was, uh, younger…so am familiar with a host of meters and analysers, but these kinds of software-based tools (a very capable measuring device in a very, very capable audio application!) have come a long, long way from the test equipment that I worked with for 12 years some 30 odd years ago, and adobe audition has a seriously detailed tool for assessing the levels, expressed in several different ways, of any audio track.

I’ve been listening on headphones to the completed tracks for “gone native”, and, by my “ear” – the “perceived loudness” seems reasonably even between all 19 tracks.  interestingly, however, in order to achieve this, I’ve done something quite unorthodox.

however…I’ve always been unorthodox when mastering CDs, and my peers would look in genteel horror upon me when I would commit the almost unforgivable “sin” of mastering an entire album to – 6 db (rather than the more traditional “just under zero db” that most engineers shoot for) – for example.

so – master up to zero db like most people?? not dave stafford – he wanted it quiet, not loud.  and, maybe…for a totally ambient album made in the mid-1990s – that’s a reasonable concept, it actually works OK, instead of having to turn the disc DOWN, listeners had to turn it UP – revealing more detail – and, preserving the dynamics better for the listener (in my opinion).  if it’s already as loud as it can go – they can’t turn it up – whereas with some headroom – at minus 3 db or lower – they can turn it up quite a bit… but it’s all subjective, and every pair of ears perceives sound differently anyway…

I am old-fashioned, and when the trend of seriously compressing the hell out of your CD tracks, and having them not just hitting 0 db but possibly peaking above that, the practice of making rock CDs in particular really “in your face” began – well, it’s just not “me”.  since most of my CDs were and are ambient, mastering to less than 0, whether it be as incredibly low as minus 6 db, or, in more recent years, closer to minus 3 db – it just worked for me – I just don’t get near zero decibels – it’s not “the sound” for me.

but when it came time to make “gone native” – well, it is mostly a rock or prog rock album, therefore, it should be louder than my ambient work, so I decided I would target minus 3 db as my baseline “loudness” for this record for the rock tracks – that seemed obvious.  however, in working with some of the tracks on “side two” (tracks 13 – 19), I found that to “match” one track to another that was measuring as minus 3…that I had to make the track I was matching quieter still, in one case, minus 10 db !!

things got even more interesting when I did the measurements using the tool.  I had three tracks that had a very small imbalance between right and left – so I adjusted those.  (although, I do happily allow a small amount, say, half a db at the most, of “imbalance” if that’s what it takes to make the track sound right – I do not insist on left and right being totally equal).

I actually created a couple of alternate “versions” of the master, so I could trial having the last 7 tracks significantly quieter than the the first 12, or…closer in both peak and perceived loudness to the first 12 tracks.  various listening sessions eventually proved out which concept works best overall for this somewhat unusual album…

having both the perceived loudness figures and the single, overall figure is helpful with this, too, but no matter how you measure, or listen,  my “measured perceived loudness” compared to “ear perceived loudness” tests have proved very interesting…

in the end, I decided that the peak amplitude figures – while important, well, I could not let it worry me that the way it the sequence of songs turned out, that some of the ambient tracks did indeed end up with peak amplitudes closer to minus 10 than minus 3.  that is not traditional, normally, you would master all the tracks close to zero db, or, master all the tracks to minus 3.  I’ve done something completely…other 🙂

normally, I would have thought this wide range of levels would be a problem – but in the end, it’s actually not – because:  most of the 12 loud songs, which vary perhaps between minus 2.5 and minus 4.5 db, all have roughly a perceived loudness of…minus 18 db !

so when it comes to the quieter songs, where I gradually lower the level of the tracks as the album moves towards it’s close…even though a couple of the tracks end up at minus 10 db peak amplitude…their effective perceived loudness drops much more slowly – so in the land of peak amplitude, the loud songs may start at minus 2.5 db, and slope down to minus 10 – so a span of about 8.5 db – however…in the land of perceived loudness, the loud songs start at minus 18, and slope down to minus 25 – a span closer to 7 db.  either way, mainly because of careful selection in the ordering of the last seven tracks, the ear is “tricked” – and it doesn’t notice the somewhat gradual (although not necessarily linear!) descent from roughly minus 18 db down to as low as minus 25 db – in perceived loudness (minus 10 db in peak amplitude) – all figures approximate 🙂

or, in perhaps clearer language, the album gradually gets quieter as it moves from the 12 loud songs, into the 7 ambient / experimental songs, but, the perception is of one continuum – and you just don’t really hear that it gets quieter – sort of – towards the end of the record.

I did an experiment, one of the variations I created, where I boosted the last seven tracks to “match” the first 12, so they all had roughly the same perceived loudness – about minus 18.  It sounded…terrible!  the tracks seemed harsh, too loud, and it just sounded completely wrong to my ears!

so – right or wrong – or rather, by all the rules – wrong – to my ear, the running order I currently have, just “works”.  my test audiences didn’t report any issues with this “gradual drop” method either, so hopefully most listeners will never realise (unless they read this of course!).  I would say – I’ve mastered a LOT of tracks now, over a lot of years, and you can take two songs, and run them through identical processes, master them identically, target zero db – and still, when you play them back – one sounds MUCH louder than the other – it’s inexplicable, because even with these sophisticated tools – still, still – the human ear is the best judge, because the numbers do NOT guarantee consistency in volume – only the human ear can do that.  or so it seems to me…

and if you just listen – you would never, ever realise all this measuring and comparing was done – in fact, really, in one sense – it didn’t need to be done, because in the end – I still trust my ears over what the numbers tell me – the measurements just help me understand better the variation in perceived loudness, rather than always relying on the standard peak amplitude that most people “go by” – and I am sure I will continue to use this to analyse album sequences for a long time – a fantastic tool – and props to adobe for creating adobe audition, which I also love for it’s click and pop removal qualities (guess what I will be doing for the next 25 days….)

happy mastering – and, don’t try this (the above) at home 🙂

but the best news is, no matter what the measured values say, in listening to the test pressings – it just sounds really “even”, and really good – if I do say so myself – so I am very, very pleased indeed.

🙂