Alongside our guide to this month’s High Voltage Festival, the newest addition in the prog festival calendar, we interview every prog band on the bill including:

Caravan, interviewed by snooker loopy Steve Davis!

Curved Air’s frontwoman Sonja Kristina, interviewed by Rise Above/Cathedral mainman Lee Dorrian.

Prog’s biggest ever roundtable as Jon Lees’ Barclay James Harvest, Anathema, Mostly Autumn and Amplifier collide at Prog Towers – and contribute to our renaissance-inspired cover masterpiece!

We also bring you:

Ian Anderson’s editor’s message, hotly-tipped new band and reissue review picks.

Chris Squire and Trevor Horn present the new Yes album Fly From Here.

Jan Akkerman discusses the major event of Minor Details.

Jon Anderson on how every day counts in Survival And Other Stories.

Dave Greenslade keys in with tales of Colosseum, Count Basie and new Roots.

New bands Cryptex, Moonwagon, Wobbler and the Ian Anderson-approved Dogma.

The Prog eye view of that reunion at Roger Waters’ O2 Wall show as well as Rush, Pendragon, Tangerine Dream, Von Hertzen Brothers and more on tour.

Plus our essential guide to prog festivals, tours and releases in the coming summery months. Yes, we said summer (puts away umbrella and wellies).

Did we say there’s a free nine-track CD, too? With an exclusive Big Big Train track? And a bumper 19-page review section featuring Yes, CCLR, Mostly Autumn, Carl Palmer, Andy Sears, Queensryche, Devin Townsend, John Wetton, Marillion, The Flower Kings and more?

We don’t half spoil you…

The new issue of Classic Rock Presents Prog – out now!

Detective’s self-titled 1977 debut album has been reissued on the Rock Candy label, and quite simply it’s is the greatest album Led Zeppelin never made. (No wonder the record originally emerged on Zep’s Swan Song label.) Detective’s sound is dense and uncompromising; guitarist Michael Monarch is the archetypal sloppy leviathan; John Hyde is as gonzo as Bonzo. With frontman Michael Des Barres howling like a wounded warrior – just listen to him go ‘OH-HOOO-OOOH!’ on Got Enough Love – several of the songs here could duke it out with Kashmir or Trampled Underfoot… and emerge battered, bruised but unbowed. We’ve got one major quibble, however: the crisp remastering job. For example, previously buried horns (we’re not talking of the forehead variety) are now ridiculously upfront.

Time to celebrate the 25th anniversary of Thor’s Only The Strong (now reissued via Finland’s amazing Ektro label), the album widely regarded as The Mighty One’s best. If you forget the hot water bottle gimmicks and focus on the music, you’ll discover some of the finest commercial heavy metal anthems of our time. Knock ‘Em Down, Let The Blood Run Red and the cataclysmic When Gods Collide are chant-along Norse shanties of the highest order. Uncannily, Thor also predicted the Eyjafjallajökull eruptions with Thunder On The Tundra.

The comeback album from Stone Temple Pilots (self-titled, on the Atlantic label) shows that the band’s frontman, Scott Weiland, remains something of a chameleon of music. Uncertain in his own skin, he wears a variety of others: decadent rock star, lounge lizard, cross-dresser and so on. STP’s traditional skills remain: Take A Load Off has the kind of spiralling, hazy melody that characterised Fall To Pieces; Peacoat, perhaps the best song here, gets hypnotically trippy on the same grand scale as Interstate Love Song. This is a strong but curiously rootless album that reflects the rootlessness surrounding the band and its singer. The search for Scott Weiland continues.

Brum-based hoodlums White Trash UK recorded their amusing titled Greatest Hits Album (Evil Boy) in 1996 for German label Noise International. It has never been released – until now. WT featured Lee Pistolero on vocals (now with Gypsy Pistoleros), a pair of proggers in guitarist Mark Westwood (Shadowlands/Martin Orford) and bassist John Jowitt (IQ/Frost), and metal thrashin’ mad drummer Paul Brookes (Benediction/Bolthrower/ Marshall Law). If someone told you this was a set of Dolls and Stooges demos, you’d believe them. The My Generation-esque Baby’s Got A Bomb blows you out of your pram; Dead Hillbilly will have Buddy Ebsen squirming in his grave; Crowman finds Pistolero gurning maniacally, sounding like Patton one minute (the FNM frontman, not the general) and Holton the next. Seriously fine.

We’re big supporters of Bournemouth proggers Big Big Train here at Classic Rock, so we’re delighted to report that two reissues from the band have just arrived on platform three. Gathering Speed (English Electric Recordings) dates from 2004 and tells the story of one of the Battle Of Britain’s fighter boys. The album’s seven tracks really capture the indomitable spirit of a handlebar-moustached RAF type, and there’s a solemn longing for times-gone-by that adds both a piquancy and a poignancy to proceedings. The Difference Machine (from 2007, also on English Electric Recordings) is harder-edged and features guests including Pete Trewavas (Marillion), Nick D’Virgilio (Spock’s Beard, Genesis, Tears For Fears) and Dave Meros (Spock’s Beard). It revolves around three epic tracks: Perfect Cosmic Storm, Pick Up If You’re There and Saltwater Falling On Uneven Ground. However, some might argue that the more concise closing song, the elegiac Summer’s Lease, is the real pièce de résistance. (It still lasts for seven minutes, though.)

And so to Trails Out Of Gloom by Fen (Ripple Music). If you’ve ever been to the Fens of Norfolk, you’ll know what a swampy wilderness it is – so both band and album are aptly titled. But strangely, this lot hail from Vancouver, not renowned for its low-lying agricultural land. Still, if you like your prog dark and aggressive, and if your tastes veer from Porcupine Tree to Tool, these could be trails worth following.

Ufomammut combines the abbreviation of Unidentified Flying Object with the Italian for mammoth. The band being Italian themselves, they urge you to pronounce their name ‘oofomammoot’. Eve (Supernatural Cat), their fifth studio album, is dedicated to the first woman on Earth (i.e. Eve) and mixes whacked-out Floydian cosmology with Kyuss-style riffage.

Parade is the brainchild of guitarist Chris Johnson (Fish, Mostly Autumn). The Fabric (www.paradeband.com) features loads of star names from UK prog, among them Anne-Marie Helder of Panic Room. Songs such as The Diamond and Facing Down sound fragile at first, then unfold to reveal a jarring undercurrent, male/female voices intertwining both delightfully and mysteriously. Very good.

If you’ve never heard of Ougenweide, you’ll be surprised to hear they’ve been going since 1970. Their new album is called Herzsprung (Bureau B). The Germans say they’re ‘pioneers of the medieval folk subgenre’ and use ancient instruments such as the Triton horn and Kishno koto (no, we’ve no idea either) to back up their claim. They actually sound a lot like Norway’s Lumsk to these ears, which is high praise indeed.

As famous for their stage show as they were their singing drummer, Triumph always suffered from comparison to Toronto’s favourite sons, Rush. Unfairly, actually, even if some of the band’s vocals were comparable to Geddy Lee’s distinctive yelp, because Triumph were a tougher sounding proposition altogether, slicker somehow and more contained. Greatest Hits Remixed (Frontiers) is a 14-song collection that goes straight to their commercial heart, as does the DVD that accompanies it, with one North American hit after the other. Oddly whimsical in songs, like the wilfully optimistic Magic Power and the gentle call to arms Hold On (the latter could have gone to No.1 in America had Boston covered it), are perfectly balanced by the steely Allied Forces, the excellently OTT I Live For The Weekend and the punchy guitar workout that is Never Surrender.

Words: Geoff Barton

Remember when the likes of Island, Charisma and, of course, Casablanca Records offered a guaranteed stamp of quality? Well, despite the collapse of the music industry there are still cult labels out there to pique your interest. Think Tee Pee. Think Rise Above. Think Fruits de Mer! This tiny outfit outta Walton-On-Thames, Surrey specialises in vinyl-only releases, their eclectic roster of bands offering new versions of psychedelic, prog, acid-folk and krautrock classics. Vibravoid’s What Colour Is Pink? EP is vol. 10 in a series of seven-inch singles, and these deranged Düsseldorf drongos have done Fruits de Mer proud with interpretations of Pink Floyd’s Set The Controls For The Heart Of The Sun, Let There Be More Light and A Saucerful Of Secrets. If you thought the originals were off-kilter, you ain’t heard nuthin’ yet. It’s like early Kraftwerk (with Ray Manzarek on keys) let loose in the BBC’s Radiophonic Workshop. More mind-blowing than a ton of Space Dust fermenting in a barrel of Alka-Seltzer. Find out more at www.fruitsdemerrecords.com

From Germany we leap to Canada. Ax formed in Kitchener, Ontario, back in the late 1960s. They faded into obscurity without releasing anything – until now. The three tracks on their You’ve Been So Bad EP (Rise Above Relics) were recorded in 1970 – and if you’re a connoisseur of psychedelic heavy rock you’ll lap ’em up. Prime-time ploddy, doomy and bluesy stuff, capped by excellent Ozzy-style vox from Gary Gross.

Over to Blighty now. Aeon Zen are a duo – Cambridge-based multi-instrumentalist Richard Hinks and Lloyd Musto on drums – augmented by guest studio musicians with Euro-sounding names (Cristian Van Schuerbeck, anyone?). A Mind’s Portrait (Time Divide Records) if full of overwrought prog metal with somewhat weedy vocals. AZ are actually at their best when they step off the gas and play more considered songs like Blinded Rain.

Blimey – now we’re off to Italy. Timesword, the brainchild of guitarist Dan Logoluso, bill themselves as ‘a new progressive rock/metal super band – perfect for lovers of Dream Theater’. Their album Chains Of Sin is out now on the 7hard label. Unfortunately their inflated claim to be the new DT falls to pieces within seconds of opening track A Thousand Year Kingdom, unless you’ve got a predilection for strangulated vocals and a Pinky & Perky keyboard sound.

Over to sunny Bournemouth. Six albums in, and Dorset-based Big Big Train just keep getting better and better. The Underfall Yard (English Electric Recordings) has the usual array of star guests (from Spock’s Beard, It Bites, Frost* etc) and also features BBT’s new singer David Longdon. Let’s not beat about the bush – this is an Anglo-prog masterclass. Packed full of tall tales and deep laments, the brilliantly melancholic Victorian Brickwork is a standout.

To London’s Chalk Farm now, where the old Bronze record label used to be based. Often lumped in with the New Wave Of British Heavy Metal, Bronz were actually late arrivals on the scene, not releasing their debut album Taken By Storm until 1983. Signed to Bronze (see what they did there?) and fronted by future GTR singer Max Bacon, they scored a minor hit single with Send Down An Angel and then disappeared. Carried By The Storm (Your Tune) is Bronz’s recently rediscovered second album and features an all-new cast apart from guitarist Shaun Kirkpatrick. Despite a crisp production job from Max Norman it sounds incredibly dated in a Uriah Heep-meets-Loverboy way. A twee collection of soulless hysteria and leftover 1980s leg-warmers, it’s a reminder of more naïve times, for sure, but not necessarily better ones.

Finally, a bit of harmless fun from Los Angeles. Now, are you fed up with tribute bands that don’t look or sound anything like the originals? Then Rock Sugar could be your salvation. If their fictitious back-story isn’t captivating enough (’80s metal band rescued after 20 years on a desert island; brainwashed and confused, rockers return to Hollywood with a shocking new musical style’) then their spectacular ‘reimaginings’ of rock classics on the cunningly titled Reimaginator (www.rocksugarband.com) should amuse the hell out of you. Don’t Stop The Sandman mixes Metallica’s Enter Sandman with Journey’s Don’t Stop Believin’; Crazy Girls, unbelievably, bolts Ozzy’s Crazy Train on to Rick Springfield’s Jessie’s Girl; Dreaming Of A Whole Lotta Breakfast, even more unbelievably, joins Aerosmith’s Dream On and Supertramp’s Breakfast In America with Zep’s Whole Lotta Love and Stairway To Heaven. It’s all done in the best possible taste, capped by tip-top vocals from Jess Harnell of Loud & Clear fame. Check ’em out playing Don’t Stop The Sandman here.

Williamson’s work has adorned album sleeves by Marillion, Fish, Judas Priest, Iron Maiden and Europe, to name but a few.

…And Marillion themselves feature on the front cover of the wallet of the new issue too.

There’s an overall arty feel to the latest issue, with Marillion, Muse, Jethro Tull and Curved Air among the bands discussing the ways in which ‘prog art’ has changed over the years.

Of course, such an issue couldn’t be discussed without input from Roger Dean and Storm Thorgerson.

And we unveil the winner of our art competition, the winner of which finds their work adorning the cover of this issue’s free CD.

We also unveil the winners of the 2009 Readers’ Poll, there’s the Critics’ Choice Albums Of the Year – and there are exclusive interviews with Todd Rundgren, Transatlantic, The Pineapple Thief, Big Big Train, Magenta, Karnivool, Ex Libras and Yak, as well as the final ever interview with the late Eric Woolfson of the Alan Parsons Project.

The new issue also carries all the details you’ll need to know about subscribing to Classic Rock Presents Prog.

Issue six of Classic Rock Presents Prog is on sale from Wednesday, January 25.

You can join Editor Jerry Ewing and writer Philip Wilding on TotalRock (www.totalrock.com) tomorrow between 12 noon and 3pm GMT, discussing the magazine and playing three hours of quality progressive rock.

Marillion feature on the front cover of the wallet of the new issue of Prog.

Inside the wallet: feast your eyes on Mark Wilkinson’s exclusive cover.

Words: Malcolm Dome

The Steve Morse Band…sounds like a recipe for self-indulgent guitar histrionics, right? Wrong. Out Standing In Their Field (Ear Music) actually allows the Deep Purple guitarist the opportunity to stretch out on a series of neatly folded instrumentals that never become too overbearing. They range from early ’70s jams through to jazz-rock. Interesting and worthwhile.

Big Big Train are a British prog band with a real penchant for a sound sprung from the well springs of Hogarth era Marillion and early It Bites. On The Underfall Yard (English Electric Recordings) all the parts fall into place. Intelligent yet never superior, this is a creative record that allows easy access.

For Selena And Sin are Finns with a passion for Lacuna Coil. That’s obvious on Primrose Path (Mascot). But there are some quite brilliant moments, as on Confide In Me and Broken Mirror. It’s here that the band show their paces, proving they could make their mark on the goth-metal scene with real dark menace.

The Living End’s sense of fun Aussie punkery holds up well on White Noise (Cooperative Music). There’s nothing here that’s gonna change the world, but it’s a damn good rollicking ride.

You might know Jamie Mallender from his stint as bassist in former Black Sabbath vocalist Tony Martin’s band. There again, perhaps you won’t. Now usually, the thought of a bassist doing a solo album has as much appeal as Thierry Henry in an Irish pub. But against all the odds, Return To Bass is listenable and entertaining. Lots of cool noodling from a man who understands how to ride the balance betweem being accessible without compromising his musical integrity. No obvious pop-rock hits here, but if Billy Sheehan style presentation is your bag get a copy from www.jamiemallender.co.uk

For those who regard Slade as nothing more than a ’70s hit machine,  Live At The BBC (Union Square) is gonna be a right old shock. This is Slade before the hits, a raw, rocking high paced crew.  But then, if you ever saw them live, you’ll know how good this lot were – one of the best.

King Crimson have come up with the ultimate way to repackage a classic. In The Court Of The Crimson King (Panegyric) has now been expanded to a…box set! This has five CDs, with the original album, plus the remaster, a US radio promo, the alternative album a live from 1969 concert. Then there’s a DVD with all manner of audio niceties. Phew! Any Crimson fan would be delighted to find this is their elongated and slightly obtuse stocking on Christmas Day.

The Company Band features members of Clutch, Fireball Ministry and CK.Y. Their self-titled, debut album (Venture Capital Records) is closer to Clutch than anything else – due mainly to Neil Fallon’s unmistakably rich throaty vocals – but has a touch more metal around the edges.  It kicks, but with a glazed stoner glint in the eye.

It might be a single, but mention has to be made of the new Steel Panther single Sexy Santa (Universal). It’s the sort of suitably salacious seasonal smut that one would expect from the priapic Panthers. Stick that up yer Merry Xmas!

Big Big Train are now essentially the trio of vocalist David Longdon, songwriter Gregory Spawton and producer Andy Poole – the latter pair are also multi-instrumentalists. They came together in 1990, releasing their debut album (Goodbye To The Age Of Steam) four years later. This was co-produced by Martin Orford of IQ, which gives you some indication of the style of music we’re talking about here. It is classy, creative, complex yet supple prog, owing much to the likes of Marillion, but also reaching back towards Van der Graaf Generator and Yes.

At the time, the line-up was Martin Read (vocals), Poole (bass/keyboards),  Spawton (guitar/keyboards), Ian Cooper (keyboards) and Steve Hughes (drums). Cooper had been replaced by Tony Muller by the time English Born Wonders hit three years later. This was put out by IQ’s label, Giant Electric Pea.

It was to be five years before Bard appeared, although the line-up was in a state of flux at the time. Hughes quit to join The Enid, only to return, with Cooper also leaving and coming back.

Sean Filkins came in on vocals for 2004’s Gathering Speed, staying for The Difference Machine (2007), by which time the band were down to a four-piece, with Cooper finally leaving permanently. Hope you’re following – there’ll be a test later.

Now, the band are ready to release The Underfall Yard, with Longdon on vocals as the band are now a core trio. However, there are guest appearances on the album from prog luminaries Francis Dunnery and Jem Godfrey.

Right that’s the complicated background out of the way (well, it is prog!). Interested? Download the 23-minute title song of the upcoming record (due in December) at: www.bigbigtrain.com

That’s where you’ll also get more info on the band.

With its usual lavish wallet featuring Jethro Tull’s Ian Anderson in classic pose, the issue looks at the relationship between prog rock and folk music, with brand new interviews with Ian Anderson, Renaissance, Roy Harper, Pentangle, Comus and Mostly Autumn. There’s a look at the life and times of John Martyn too.

Elsewhere there’s an exclusive round-table Progressive Nation interview with Dream Theater’s Mike Portnoy, Opeth’s Mikael Akerfeldt and Bigelf’s Damon Fox discussing the state of prog music today, and interviews with Oceansize, Within Temptation, Katatonia, 3, The Devil’s Blood and a seasonal look at Xmas prog tunes.

All this, plus a free 12-track CD featuring the likes of Transatlantic, Nosound, 3, Within Temptation, Big Big Train, Mostly Autumn and many more.

You’ll find all your progressive desires catered for in Classic Rock Presents Prog issue 5, on sale from tomorrow.

Ian Anderson (plus codpiece) on the wallet.

Prog Nation protagonists on the cover inside.