The Sinuous 1990s – The many-headed stylistic beast

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

Episode 3: 1990s

Garbage

The 1990s spawned a wonderfully diverse and interesting selection of musical acts ranging from the heavier music of Alice in ChainsPearl JamJane’s AddictionDinosaur Jr, Foo Fighters, and Nirvana to the more intellectual (perhaps) music of bands such as R.E.M.SoundgardenThe LemonheadsThe Smashing Pumpkins, Stone Temple Pilots, and the wonderful Garbage.

 

 

 

The Foo Fighters

This in almost stark contrast to the music of the early 1980s, which began with a whimper rather than a bang with all of those synthy / poppy bands from the UK – sees a real return to harder rock music, to heavy guitar music, in a much more powerful and possibly closer to the 1970s in lineage way – the 90s rocked hard.

 

 

 

Motörhead

One of the main examples of a band that really, really rocked hard, perhaps the hardest, is the redoubtable Motörhead. led by the late, great Lemmy.  This type of extremely heavy, extremely fast rock became one of the hallmarks of 1990s hard rock – and Motörhead – with Lemmy at the helm – definitely led the way.

 

 

 

Faith No More

Alternative Metal also sprang forth in great numbers during the 1990s, which saw many very popular bands such as ToolHelmet, the very underrated Faith No MoreRed Hot Chilli Peppers and Rage Against the Machine to name but a few – representing a thriving alternative music scene with some powerful new sounds emerging.

Industrial Metal also gained popularity during the 1990s, in the form of Nine Inch NailsMarilyn MansonMinistry, and the amazing German band, Rammstein.

 

NIN

Nine Inch Nails

In the main, this was a fairly new form of music for the 1990s; although 1980s antecedents such as Killing Joke might lend credence to the notion of a fusion of metal and punk as the ingredients of this new genre – with the additional third element of electronica added in – and one of the best examples of that holy trinity of styles would be the oft-overlooked Prodigy.

Bjork

The 90s also brought us trip-hop, another new genre explored by artists such as Portishead, and Björk,slow-moving beat-based electronic music.

 

Meanwhile, Indie Rock proponents such as Sonic Youth and Pixies rose up in the underground scene, with bands such as Pavement,  Yo La TengoThe BreedersSuperchunkDinosaur Jr.Guided by VoicesLiz Phair, and The Flaming Lips quickly following in their footsteps.

Oasis

But for many, what kept real rock alive in the 1990s was the resurgence of rock in the United Kingdom otherwise known as Britpop – a massive phenomena in early 90s Britain – featuring a number of popular, chart-topping bands such as  BlurSuedePulpManic Street PreachersElasticaSupergrassThe Verve and of course, the remarkable Oasis.

 

These in turn provided the impetus for the success of the more provincial “Madchester” bands hailing from Manchester in the U.K., such as Happy Mondays, and The Stone Roses.

 

Radiohead

What happened after Oasis, then? – well, post-Britpop – a new batch of musical acts appeared with the likes of the VerveTravisStereophonicsFeeder, with the extremely popular band Radiohead leading the way towards the latter half of the decade.

 

Britney Spears

I haven’t really got the space to add in all of the other genres of music that had famous 1990s practitioners, for example – over in the pop universe, such remarkable phenomena as Britney Spears, or even farther outside my own mostly progressive rock world – artists such as  Janet JacksonMariah CareyTLC, or Robert Fripp‘s favourite singer, the redoubtable Whitney Houston.

 

 

The Spice Girls

I am obliged legally to mention the rise “manufactured pop” which had existed for a long, long time in one form or another, but reached a new zenith with the “creation” or rather, “fabrication” of huge stars such as the incredibly popular Spice Girls.  Manufactured boy bands and girl bands proliferated to the point of total oversaturation and have lead to the kind of “X-Factor” or “Britain’s Got Talent” environment we are forced to live in now.

 

I blame the Spice Girls for that.  And the Monkees, the Jackson 5 and the Osmonds before them.  Shudder.

But enough of this very incomplete list (above) of bands popular in the 1990s, which while not complete, at least gives you an idea of what kind of music was in the air during this most curious of decades – and onto my own concert experience in this new world of industrial metal and slow moving trip hop – and of course for me, eternally stuck in the music of the 60s and 70s – my “1990s Concert Experience” will be mostly comprised of the music I know and love, along with a sprinkling of newer artists to try and expand my limited range of musical interests – in every decade, I tried to attend a few “atypical” shows – shows that I wouldn’t normally think about attending (such as, as noted below, “Earthworks” – or later on, “The Innocence Mission”) – just to experience something new.

 

DAVE STAFFORD CONCERT ATTENDANCES – THE 1990s:

1990

This year was like any other year full of exciting live concerts that I might attend, and I started out with a fairly small number of shows, mainly from artists I already favoured and had seen in previous years – but not, possibly, in their newest 1990s incarnations.

A young Todd Rundgren

These 1990s performances I witnessed included Todd Rundgren, Peter Hammill (as always, meaning a trip up to Los Angeles to see him at the famous Roxy Theatre), and the incredibly capable guitarist Robert Fripp, this time performing acoustically with the remarkable League Of Crafty Guitarists.

Also, there was at least one new excursion into a completely different kind of music than I was accustomed to – I went to see Bill Bruford’s “Earthworks” live at the Royal Festival Hall in London – since I had to be there then anyway – and that was a very, very different  experience musically speaking.

ph

A young Peter Hammill

Being what I guess can only be described as “modern jazz” – I did enjoy it on a musical level, but it also confirmed for me that I am firmly rooted in the clutches of rock, pop, and progressive rock – and I don’t really stray outside of that very often.

But I am glad I saw them, and it was a great venue too – always nice to attend a concert on what was then foreign soil but is now, home.  Bruford and his band of stalwart jazzers put on a very respectable show – and for what it was, I did enjoy it – but – King Crimson live it was not!

1991

Crowded House – circa 1991

1991 was a somewhat different year – which began, again, with the ever-touring Todd Rundgren (whose music, if I am honest, I was enjoying a bit less each time I went to see him) but this time, I took in Crowded House (this incarnation, with Tim Finn, band leader Neil’s older brother – both alumni of the remarkable New Zealand band Split Enz – joining the band, so I got to hear the Finn Brother’s amazing vocal harmonies in person) – this was and is, my favourite incarnation of this band, the “Woodface” tour and album – a fantastic show.

 

 

Tin Machine

Another real highlight of ’91 was that I finally, after many, many years of constantly missing him, finally got to see David Bowie performing live – and what a performance – with his new band Tin Machine – with the astonishingly brilliant and talented Reeves Gabrels on lead guitar – this band rocked my socks off – they were fantastic live – just plain two guitars bass and drums rock and roll.

 

I was kinda glad I didn’t go to a “normal” Bowie concert, which would probably have been a bit like listening to a Greatest Hits compilation – seeing him play with Tin Machine was very real, very vibrant and you could see in his eyes and in the infectious grin he had on stage – that he was having the time of his life with his little rock band!  It was most excellent – and, I gained a new guitar hero in Reeves Gabrels, whose career I have followed ever since – an absolutely fabulous and uniquely intriguing lead guitarist with a very personal and unmistakable style – an awesome guitarist!

 

1992

1992 was an unusual “quiet year” for live shows, starting out with a very small, intimate performance by the very talented California Guitar Trio at a small bookshop – the Better World Galleria – in San Diego, California.  This was at a time when I was still very involved in Guitar Craft so I am actually acquainted with the guys in the band and I think that they invited me personally to attend – so I did – and as they always do, the Trio put on an excellent performance.

The rest of the year was dominated by two very important and significant events, the first of which was seeing my third and final BeatleRingo Starr.  In 1974, I had managed to see George Harrison at the LA Forum with Ravi Shankar, and Paul McCartney in ’76 during his Wings Over America tour, but to date I had never managed to see John Lennon (I never did) or Ringo Starr – from my favourite band of all time –

Ringo Starr – White Album Sessions 1968

The Beatles.  So when I had the chance to see Ringo with his All-Starr Band – who, in 1992, included the aforementioned Todd Rundgren on lead guitar – how could I say no?

Seeing Ringo live was a far, far more musical and brilliant experience than you might have thought, and with all of the other musical guests in the band it became more of a star-studded walk down several different memory lanes – the Beatles one being of course one of the most important ones. Ringo‘s son Zak Starkey was incredibly capable as the band’s main drummer – with Ringo joining in when he wasn’t busy singing or being the MC of the show.

Rundgren performed a version of his song “Black Maria” which Ringo had apparently requested as his favourite Rundgren track – while the band supported Ringo through the expected Beatle hits – including a very moving “With A Little Help From My Friends” where the crowd totally got behind Ringo when he hits the high note at the end – the crowd just went wild – and it was really, really a much better experience than I thought it might have been – thoroughly enjoyable.

So in 1992 – I got to experience the third and final Beatle I would manage to see perform live, despite that band breaking up way, way back in 1970 when I was still very young (but already a huge fan of the Beatles – even then).

The second and final concert event for 1992 was another one on “foreign” soil, I once again found myself in London, this time at the Town and Country, for the 20th Anniversary Camel Tour.

This was the first time I got to see Camel  after several missed opportunities in the previous decades – so I was overjoyed as they have always been one of my top favourite bands – and I was not in any way disappointed.  Andy Latimer is surely one of the most talented of all progressive rock guitarists, and seeing him play those remarkable tunes at long last was absolutely fantastic.

Camel – circa 1972

A great show, and a great start to my experiences seeing Camel live – I was fortunately enough to live in California at the same time as Andy Latimer, so I saw the band a number of times then from Dust & Dreams on through Harbour of Tears – and then again more recently – really recently – I went to see the band performing “Moonmadness” in its entirety at the Tyne Theatre in Newcastle just last month (September 9, 2018)  – and they were as absolutely brilliant as ever.  The very best of prog.

 

1993

1993 was a very, very unique year for me in that I saw certain groups that had such a lasting and enormous impact on me both as a listener and as a musician – it’s a year like no other, when at least two of the bands I saw that year – only really EXISTED during that year – and it meant that this was a very special year indeed for live music.

The first of two concerts I attended featuring the Robert Fripp String Quintet – at the fantastic Belly Up Tavern in Solana Beach, California – this band was absolutely unique and only existed I believe, as a live performance project  – their one album is a live album.

A rare photo of the Robert Fripp String Quintet performing live in 1995

This band was really a combination of Robert Fripp on lead guitar and soundscapes, Trey Gunn (of King Crimson) on Stick, and the California Guitar Trio on acoustic guitars – an unusual musical marriage of the acoustic and electric sides of Robert Fripp.

 

The music that this group played was so unique and so exquisitely beautiful that I’ve never forgotten the beauty and heartbreak of hearing pieces like the incredible “Hope” performed live – and then, the climax of each concert was one of the most dissonant, out-there Fripp Soundscape performances ever created – the “Threnody For Souls In Torment” – I think the title says it all.

So from great beauty to great dissonance – this band could do it all, and in the space of one performance you would experience an almost bewildering array of ever changing musical beauty and emotion – as well as technical prowess so powerful as to leave you breathless – a band that you just had to see if you could – and one of Robert’s best spin-off projects – perhaps the best.

My next concert for 1993 was something very, very different indeed – again, at the remarkable Belly Up Tavern – this time, it was Soukous music from the Congo (Zaire) in the person of Kanda Bongo Man – whose band is the only modern band that plays Congolese-inspired music like the music I heard growing up in East Africa.

Kanda Bongo Man – Live

I had recently been listening to quite a lot of music by this group, so when I saw they were playing live, I hastened to get tickets – and it turned out to be an absolutely awesome evening of live African music from a very, very capable band with a truly great lead singer and performer – the Kanda Bongo Man himself.

This one definitely falls under the category of “shows I would never normally attend” but as I grew up in East Africa, I have a huge soft spot for this kind of twin lead guitar based music – and the guitar playing I witnessed that evening was absolutely fascinating and very faithfully recreated the music I remembered – interlocking lead guitars not a million miles away from the sound of Fripp and Belew’s interlocking lead guitars on the 1981 King Crimson masterpiece “Discipline”!!

I’m very glad indeed, that I attended this most unusual show – and I think it’s definitely a good idea to occasionally go outside your comfort zone and go see a concert that you would never ever think to go see – and for me, in 1993, this was the one.

Next on my agenda was a trip up the coast to San Juan Capistrano to the renowned Coach House, to see a second, even better performance by the Robert Fripp String Quintet – and the fact that I got to see this truly magical group play not once, but twice is something for which I am eternally grateful.

As if Fripp’s amazing Quintet was not enough – a unique and unusual live performance – the next thing that happened in 1993 was yet another one of a kind, limited edition short-lived musical projects – and I

Robert Fripp & David Sylvian circa 1993

am talking now about the absolutely stunning “SylvianFripp” – the somewhat unlikely musical meeting of the minds of the former leader of art-rockers Japan with the Guitarist of the Crimson King.

 

I drove up to Los Angeles to see this one, and I remember something unusual – I went with my then bandmate Bryan Helm of The Dozey Lumps and Bindlestiff – and I don’t recall that we ever went to many concerts together, but it was unusual to have another musician to discuss the music with afterwards – and we both thoroughly enjoyed this most amazing performance – the official “Sylvian-Fripp” album, which had been released some months previous to this concert – did pale justice to the monstrous force of the live performance unit – the studio album lacks quite a bit of the punch of the live outfit – and it wasn’t until the live album “Damage” came out, that you could hear on record just how powerful this band was.

The songs are some of Sylvian‘s best, and in the live setting, they also did surprising numbers from the Gone To Earth album (that Fripp had played lead guitar on previously) or even Fripp‘s own tune “Exposure” – the oft-recorded Exposure that has been sung by various singers over time – and Sylvian the latest in a long line of Exposure vocalists.  But the main events were some of the extended tracks where Fripp went full-frontal Hendrix Assault Guitar on us – and I will never forget the screaming, shredding blasts of amazing moving chords that Fripp unleashed on an unsuspecting audience at the Wiltern Theatre that night on tracks such as “Darshan” – that was absolutely a mind-blowing performance.

Seeing both the Robert Fripp String Quintet, and then, just a few months later, seeing the Sylvian-Fripp live concert, all in the same year, was very nearly unbelievable and the sheer virtuosity and musicianship of both of these projects involving Robert Fripp was absolutely undeniable – it changed me as a guitarist forever.

 

1994

Every decade has it’s truly quiet year, and this year – for the 1990s – for whatever reason – was my quietest.  According to my research so far – I only attended one concert this year – but it was a most unusual one – I had been listening to a CD called “Pieces of Africa” by

Kronos

Kronos Quartet

Kronos Quartet so I decided to go and see them play live – a third entrant, perhaps, to the “atypical” concerts that I like to add into my schedule from time to time – one of those concerts I would not normally think about attending.

 

But I remember a very intriguing and very different musical experience – this group are known for their almost chameleon-like ability to move between musical styles from strictly classical to works such as the aforementioned “Pieces Of Africa” to interesting string quartet interpretations of rock music.

One standout moment for me – a real surprise – when the band suddenly kicked into an all-strings version of Jimi Hendrix’s “Purple Haze” – and it sounded incredible! – it doesn’t get more rock and roll than that – of course, in a strictly classical music setting!  Fascinating show.

 

1995

Well – the Decade Of The Fripp continues in full swing…

Fripp-Soundscapes2

Soundscapes – Rack Configuration

…and 1995 started out with two shows in a row from Mr. Fripp – this time, performing his live guitar magic – the magic known now as “Soundscapes” (formerly: “Frippertronics“) – I attended two identically-configured shows, one on January 27th and again on January 28th, which featured the remarkably talented and capable California Guitar Trio as the opening act, and then Fripp‘s Soundscape performance followed.

What is a Soundscape?, you may ask – well, Fripp states on the Discipline Global Mobile web site that Soundscapes “has the aim of finding ways in which intelligence and music, definition and discovery, courtesy and reciprocation may enter into the act of music for both musician and audience”.

Soundscapes really have to be experienced live to fully appreciate their amazing sonic qualities – the recordings, which are generally speaking all live anyway – don’t quite do them justice without the visual aspect of seeing Robert sending notes to different loopers

Fripp-Frippertronics

Frippertronics – The Original System Using Two Revox A77 Reel-To-Reel Tape Recorders

to do different things, playing melodies with different effects or guitar synth voices to provide musical textural variety, and also, the sound of a brilliantly-conceived stereo electric guitar system live in the room – it’s an amazing immersive experience, and whether you like Soundscapes or not – they are really something to experience live.

 

I was lucky enough to see this remarkable show at least twice, because I’d also seen a rehearsal that year that Robert did, when I was on a Guitar Craft course, where he used the assembled Crafties (those of us on the course that year) as guinea pigs – did we mind if he tested his system?  No – we did not mind.  So I’d seen a similar show to these, done in the big room at Ojai, California – during a Guitar Craft course – so my own experience of Soundscapes is a bit more varied than most – and I feel very fortunate indeed to have had the additional amazing experience of seeing and hearing Robert do an entire Soundscape performance in a room in an Ojai facility.

Of course, I was also able, on that course, to get a decent look at Robert’s pedal board, so when I finished the Course, I went straight to Guitar Centre and bought the same pitch shifter that RF was using – and I used that for years – it was fantastic, because of course with a little work, I could pretty much get exactly the same live two octaves up sound that he did – it sounded great.  (Note:  the pedal in question was the Digitech Whammy II – a great pitch pedal at the time).

 

Fripp-Soundscapes

Soundscapes

 

After starting the year out on the high of getting to see the Trio twice followed by Robert Fripp twice, a few months passed and then, not to my surprise, I found myself sitting at Copley Symphony Hall on June 28, 1995 – waiting for the new “double trio” version of King Crimson to take the stage – so my third Robert Fripp concert of the year and my third concert containing Robert Fripp that year – 1995 was definitely the Year Of The Fripp for me!

 

KC Double Trio2

King Crimson – Double Trio Configuration – circa 1995

King Crimson were very, very accomplished and very, very powerful, and this was the first time I had seen this “new” incarnation – which meant it was the first concert experience of tracks such as “Dinosaur” which I thought was absolutely astonishing – and also, the beautiful side of the double trio, as represented by the very gorgeous “Walking On Air” – sung beautifully by Belew, with both Fripp and Belew playing clean, reverse guitars – a plethora of stunningly gorgeous reverse guitar sound – fantastic!

 

The final part of my wonderful 1995 concert experience was dedicated to a new interest I had developed in the 1990s – in a band from the East Coast of the United States called “The Innocence Mission” – I’d heard (or seen, rather?) an MTV video late one night by this band, and on a whim, I bought their first album – which I very much enjoyed.   I began to follow them, and continued to buy their albums and then, logically, when I heard they were to be playing live – I went to see them.

InnocenceMission3

The Innocence Mission

The band consists of a husband and wife team, who play guitars and keyboards / guitars respectively, although wife Karen Peris sings most of the lead vocals, they both sing – and the band has had various supporting members over the years – to the point where I believe they are now down to just a duo at the present time.  When I saw them in 1995 – they still had a full band of drums, bass, lead guitar, and piano or acoustic guitar played by Karen Peris.

 

 

So my final concert experience of 1995 was seeing this remarkable new group playing live – and it was a revelation – the songs, some seemingly so fragile that you thought they might break while being sung – others more upbeat, but all with a lovely positive light about them.  I absolutely loved their second and third albums (Umbrella and Glow, respectively) and I continued on following them for many, many years after those albums, too.

 

InnocenceMission2

The Innocence Mission – Full Band

I am so glad I took the chance to just buy the first Innocence Mission CD sound-unheard – and I really liked it – and that really brought me years and years of enjoyment, allowing me to see this band more than once live in a concert setting, and enjoying their records throughout the 90s and beyond.  A really nice way to end the year, with a tight, organised show featuring some of the most beautiful, delicate and fantastic songs – really gorgeous music – and Don Peris is a very accomplished guitarist too whose playing I also very much enjoy.

Another happy accident – and I can now proudly add this band to the list of bands that I admire and enjoy listening to…the Innocence Mission.

 

1996

Although no ticket stubs survive from this year, I am aware of at least a couple of shows I attended – the first – being a second concert by The Innocence Mission – I believe this would be for their third album “Glow” which meant new songs, and new chances to

KarenPeris

Karen Peris

see the remarkable Karen Peris sit at the piano and sing the most beautiful songs in the universe – and it was another incredible night – which ended with the chance for a brief conversation with the Peris couple – they were both really accommodating and very kind – so I had a fantastic experience at this second really quality performance by this then-up-and-coming indie band.  Really enjoyable.

 

I should note here that both times I saw The Innocence Mission, they were accompanied by another band, called 16 Horsepower, that opened for The Innocence Mission on both occasions.  They were not really to my taste, but it was interesting music – the lead singer was a kind of tortured soul (??) and his vocal approach and lyrics were provocative and interesting – so it lent some interesting contrast to the more straightforward beauty of the songs of Karen and Don Peris.

 

The final big musical event of 1996 for me, was a second visit from King Crimson, again, in Double Trio mode – this time, at a strange outdoor gig in San Diego at a new venue called “Hospitality Point” (i kid you not) and I was roped in – thanks to my involvement with Guitar Craft – into the job of handing out flyers to the punters as they entered the performance area.

This particular King Crimson performance was very significant to me, first of all – the band had improved and moved on since the first time I’d seen them at Copley Symphony Hall in San Diego, the year before – and they had expanded their repertoire somewhat too – and that was why I particularly did not want to miss this particular show – because I had heard that they were now performing the classic King Crimson song “21st Century Schizoid Man” – so after being a fan of the band for many, many years, and seeing them play four or five times by this point – I finally got to hear them play Schizoid Man – and it was immaculate – when they got to the famous “precision” section near the end of the song – the whole band dropped down, and they played those famous precision riffs – perfectly in time, six bodies united in sound – and it really was impressive – they got the HARDEST part of one of the band’s most difficult songs – exactly right – the way it should be.

I was impressed to say the least.  Also had been rewarded with a back stage pass, but really didn’t do much except watch Tony Levin walk past – everyone was in hiding after what was probably an exhausting show.  Another great King Crimson experience – the Double Trio was loud, they were incredibly talented musicians – and for me – it really worked – I loved that version of the band – and I’m very happy not only that I got to see them play twice, but also that I finally, finally got to see the band – any version of the band – play “21st Century Schizoid Man” – live.  An experience, in my opinion, well worth waiting for – after all, I’d been waiting since 1981, really – when the band first re-emerged – so just the 15 years had passed – until one version of the band finally learned the song!

 

1997

This was an interesting year – and it started out with a very unusual an interesting show in a somewhat unusual venue – a guitar shop in Santa Monica, California called “McCabe’s Music”.  “McCabe’s” was well-known for their very small, intimate acoustic performances – they had a small concert space upstairs – that seated perhaps 70 or 80 people (?) and I can remember being very excited about going to a concert at this famous guitar shop – I remember I went early, so I could look at the guitars and so on – and browsed around in there for perhaps an hour – before they threw us all out so we could all come back in again for the show – or, maybe they let us stay in – I can’t recall.

The artist we were all waiting to see is the very famous British musician – guitarist and songwriter Roy Harper, doing a rare appearance in California playing live upstairs at McCabe’s – news of the show was just out of the blue – but I wasn’t about to miss this – my first chance to see Roy Harper live.

RoyHarper

Roy Harper in more recent times

I was not disappointed – two very good sets of amazing music later, I was stunned by the man’s ability to perform these utterly unique and very specifically his songs – he writes songs like no other – many of them hard-hitting, others, the most tender love songs you might imagine – any cross-section of any dozen songs from any Roy Harper album will give you a set of songs that covers a massive range of emotion and colour and humanism and beauty.

 

He is a poet, writer, activist – outraged and angry peacenik – and I loved this crazy, nutty Englishman and his eccentric music – and his voice – his voice is an instrument in itself, and clever use of delay and reverb live lends itself to some stunning vocal performances along with his lone acoustic guitar – he often managed to sound like a lot more than one man with a guitar.

Those two shows are among my most prized memories – and when Roy came back after the intermission – he was noticeably relaxed, I think that the McCabe’s staff had possibly supplied him with some high quality California cannabis-derived product of some kind – so the second set started out with Roy just laughing for about five minutes – and the audience laughing with him and at him – it was hilarious – and then, he turned in a performance that was even better than the stunningly good first set!

A remarkable experience indeed, and while I was able to see Roy on other occasions later on – this first time was definitely the best time – an intimate venue, and a great performance from someone who is a National treasure – there is only one Roy Harper – friend of Jimmy Page – 1960s minstrel – stoned hippie free love advocate – poet and singer extraordinaire.

Next on the agenda then, for 1997, was the first of a number of shows by Camel – the first time I’d seen them in five years – Andy Latimer was now living somewhere in Northern California, and had his new version of Camel playing up and down the California coast for quite a few years.

I think that this year would probably have been the concert for Dust & Dreams, which is a fantastic album in it’s own right, and I absolutely love the music of Camel but in particular, I love the flute and guitar playing of leader/lead singer/lead guitarist Andy Latimer, and it did my heart good to see Andy doing so well, with a FANTASTIC new band – the first time I saw new bassist Colin Bass in the band – and playing fantastic new

Camel2

Andy Latimer – Camel’s Guitar Genius

material too – I’ve seen Camel four or five times now, across the years – and the performances have all been uniformly immaculate and of the highest musical quality – Andy knows how to arrange a proggy tune!  So this latest new incarnation of Camel – was OK by me – and I went to see them more than once.

 

To this day, I would say that Camel in a way, represent what “Progressive Rock” is and what it should be – more than almost any other band.  And the performance I witnessed just last month – where the band played the entire “Moonmadness” album without stopping – then, took a break, and then came out and played a LONG set of classic Camel music – and they were stupendous.

Only Colin Bass remained now in 2018, from the 1997 lineup – so they had a new drummer (Denis Clement) and keyboard player (Pete Jones) for the Moonmadness 2018 tour – and the new keyboard player Pete Jones has an amazing voice – so this new Camel, the 2018 Camel – has the best live vocal approach I have ever heard the band have!

They even attempted – and easily pulled off – a live three part harmony – and the two part harmony singing between Latimer and the very,  very accomplished new keyboard player Pete Jones was absolutely spot on throughout – raising their game as a live performance act even further.  And Latimer has battled on despite ill health – the man is an absolute legend!

Marillion2

Fish – Marillion’s Original (And Best) Singer

1997 continues with another legendary concert – the final tour of Marillion where their lead singer was still named Fish.  The tour for then-new album “Clutching At Straws” – remarkably, Marillion had done the impossible by making a followup album, to their hugely successful mid 1980s album “Misplaced Childhood” that was just as good if not better – I actually prefer it – and so had upped their game musically – and I was excited to hear the band playing this new album – I’d seen them playing “Misplaced Childhood” previously when I’d seen them live in San Diego; this time, I traveled up to the old reliable Coach House, to see Fish‘s last stand with Marillion – of course, we didn’t know it was his last tour with the band – but the writing was on the wall.

 

The show at the Coach House that night was absolutely amazing and I had a fantastic time – the band were so precise, and this was a great new bunch of songs – and I think their performance this year, on this tour – was miles beyond what I’d seen previously when I saw them live – and to my mind – still never exceeded by the “new Marillion” – the one with the singer NOT named Fish.  That Marillion – has never quite come up with another album that thrills me as much as the brutally honest and self-examining “Clutching At Straws” does.

At one point during the performance Fish was supposed to do a costume change – but he told the audience instead – “I’m supposed to do a costume change now but I will be damned if I am going to go up and down those BLOODY stairs one more time” – to which the audience ROARED in pleased approval and Fish just got on with the next song – wearing the wrong costume – the music was all that mattered – and that was his way of reminding us of that fact.

It was a great show and I think an example of Marillion at their very best!

Finally to round out a very exciting and concert-filled year, another show by Todd Rundgren – this time, played at the smaller, more intimate Belly Up Tavern, and if memory serves me correctly, this was the year that he finally played “No. 1 Lowest Common Denominator” live – which was a song that I dearly loved from the 1974 “Todd” double LP – that despite seeing Todd several times since first seeing him with Utopia in 1977 – it wasn’t until 20 years later – here in 1997 – that I actually got to see and hear him play this remarkable song.

Todd2

Todd Rundgren in recent years

It was a concert for me, of mixed emotions – with highs like that, but also with lows in that some of the newer songs that Todd was performing, just didn’t sit too well with me – I was losing interest in a lot of his newer music – while still very much liking and appreciating his back catalogue.

 

 

Each year, it seemed, Todd’s shows more and more favoured the newer, less interesting and creative songs, and every year, the number of older, interesting, and very creative songs from his best albums, dwindled and dwindled until they became almost non-existent. There also seemed to be less and less emphasis on his substantial abilities as a lead guitarist, and more emphasis on acoustic, piano or other non-virtuoso performance material – in other words – he stopped playing guitar – or at least –  cut it way back.

Later on in his career, he did somewhat remedy this by playing a lot of the older material again – and playing more guitar again – but he had long before that kinda “lost” me.  This may well have been the very last time (to coin a phrase lol) I went to see Todd play – I am not sure.

 

1998

At this point, the haze of time and memory, has drawn a curtain over the decade – and only a couple of glimpses of that clouded memory remain – I have only one entry for 1998, and that was for a new band – a band I had recently discovered by a most unusual method for me – I had heard their new single on the radio, and felt like I had to have that record.  I never hear records on the radio.  But in this case – that’s actually how it happened.

KsChoice

K’s Choice – Sarah & Gert Bettens

That record, turned out to be “Everything For Free” – a wonderful (and also somewhat bittersweet) tale of how everything is free and paid for when you live in a lunatic asylum – from the point of view of someone – an inmate – called “Billy” – as sung by Sarah Bettens – who is showing a visitor around their gilded psychologically-demanded prison and explaining how he gets “everything for free” – it’s a chilling and beautiful tune with a biting, socially aware lyric – by the remarkable Dutch – or perhaps Dutch/American band “K’s Choice“.

 

I bought their brand new 1998 album – “Cocoon Crash”  on the strength of hearing that one song one time driving home – and fell in love.  This was to me, a fantastic find – a new band, a new sound, and a remarkable lead female singer in Sarah Bettens – with a unique and unforgettable voice – or rather, a unique brother (on guitar – Gert Bettens) and sister (guitar and vocals – Sarah Bettens) team that harmonised beautifully together.

I’ve never had another chance to see them perform, but I have continued to buy their albums and follow their career – this band, and in particular the string of albums they made from 1998 probably into the first part of the next decade – really resonate with me.  “Cocoon Crash” is probably my personal favourite, but they have made a number of albums of equal quality – this is a talented and capable band.

The performance took place in tiny, tiny beach front club in a suburb of San Diego called “Mission Beach” – a place I lived when I was a teenager.  The club was very, very small but the band rocked hard and loud, and sounded absolutely amazing – I was blown away by all of the instrumentalists, they were all Dutch except for their bass player who was American – and they played their socks off that night in that tiny place.  Sarah Betten’s voice – and attitude – was unique, infectious and fantastic – and when she came in on third electric guitar the additional noise and din was absolutely amazing – what a great live performance – and, from a band that was brand new for me.

 

1999

The records here completely disappear for a period of time – and it remains unknown if I attended any concerts in the last year of the century or not – I simply do not know – I have so far, not found any ticket stubs or other evidence to show that I did; but should such information become available, I would of course do an update on this blog – so – with K’s Choice and their amazing performance at Cane’s in Mission Beach, California – this decade of concert attendances comes to a somewhat premature end – 1999’s activities remain a complete mystery.

 

 

THE ATYPICALS – A QUICK LOOK

While this concludes the Performances Attended section of the blog, I want to take just a moment to list here, the “new” bands or at least – new to me – i.e. bands that were outside of my experience when I first encountered them in the 1990s – as a contrast to the many bands that I had already been following during the previous two decades.

So while it’s obvious that I have a propensity for bands and artists such as King Crimson, Robert Fripp, Todd Rundgren, Camel, Peter Hammill, and any other classic Prog Rock outfits – the 1990s were, for me, also – a time of new musical awakenings – and while I have provided details of all of these artists in the section above, I thought it was worthwhile compiling a quick list of the “atypical” Dave Stafford concert attendances – those concerts that I would not normally have gone to, or, artists and bands that were either new to me or new in general – which I was encountering and having my first or nearly-first experiences with – through the auspices of seeing them perform live in the 1990s:

The Atypical Bands And Artists List for the 1990s – Dave Stafford’s Concert Attendances:

 

Awesome Guitarists – one motivator for attending so many concerts

I was a guitarist then, and I am still a guitarist now;  so it’s only natural that I would follow and enjoy music by the world’s most talented and capable guitarists – and the list of guitarists that I was lucky enough to see in the 1990s is a pretty staggering list of remarkable, talented musicians.

THE 1990s GUITARIST’S HALL OF FAME:

For each decade, I have created a list of the remarkably diverse and talented batch of lead guitarists I have witnessed within the bands or artists I had seen during that decade (see my blogs for the 1970s and the 1980s respectively – and near the bottom of each, you should find a list of guitarists similar to this one following).

 

 

Forward still…on into the distant future!

So in conclusion – for me, the 90s were packed with many, many performances from many of my very favourite musicians – you will see the names of two in particular, cropping up again and again and again in the account above – Todd Rundgren and Robert Fripp – and in the case of Robert Fripp, during this most interesting decade, I managed to see him perform in, actually, five different groups – which is an astonishing feat in itself if you think about it.  I feel very, very fortunate to have been following his career very closely at the time, and that gave me the opportunity to see him play guitar in so many different performance modes – it was simply amazing!

As well as seeing Robert Fripp play many, many times in five different bands, I managed to see a Beatle – my third and final live Beatle experience with the great Ringo Starr – and also managed to see Todd play guitar a few times, and Camel – who I dearly love – twice – once in 1992 and again in 1997 – a very interesting contrasting experience.  On top of so many Prog-based highlights, including seeing the amazing Peter Hammill performing live at the Roxy in Los Angeles at the start of 1990 – I also became familiar with a handful of new or newer groups – and three of those groups became huge favourites of mine over the years.

It was, for me, a really nice mix of shows – heavy on the things I love, and an enormous number of performances by one Robert Fripp – possibly my favourite guitarist of all time – as well as two master classes in Prog Guitar from Mr. Andy Latimer – not to mention the guitar work of Peter Hammill, Todd Rundgren and young Steve Rothery – none of those guys are exactly slouches when it comes to playing electric guitar – and then a light sprinkling of some very diverse new music – covering jazz, classical, African and new kinds folk rock or rock with just a handful of bands – the perfect mix of live concerts of both the “old familiar” and the “new exciting” shows – making for another nearly perfect decade of truly enjoyable concert attendances.

Until next time then – once again my friends ~

 

Dave Stafford
October 5, 2018

 

Next time on Decade By Decade – The Live Concert Experience / Overview:

The 2000s – The Naughtiest Decade

 

1990s Concert Ticket Stub Collection (courtesy Dave Stafford)
1990sMaster.jpg

Concert Ticket Stubs – 1990s

 

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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.