The Spirit Of Prog (sponsored by EMI)

Winners: Jethro Tull, presented by Roy Harper

Gentlemen, we trust that your evening is proceeding swimmingly?

Ian Anderson: Yes, immensely so. I’m really enjoying Roy’s company.

Roy Harper: Likewise.

Anderson: I’ve spent most of my time marveling at the impossibly tight-trousered people around us. And also at those sporting such incredibly exotic hair. In many instances I thought it had to be fake but now I’m up close to one of them I can see that yours is real.

[Your correspondent laughs with embarrassment and moves on]. Unless I’m mistaken this is a first time at the Classic Rock Awards for you both.

Harper: It’s much, much bigger than I thought it was going to be. I expected some homely little party, but it’s a very big deal.

Anderson: I’ve been very, very impressed by the mutual sense of support from everybody that I’ve spoken to; from fellow musicians, to those employed by the magazine, also those from the print media and radio stations. In these troubled economic times there’s a sense of everybody pulling together and saying: ‘Listen, we need each other in order to keep music going on at this level’. It feels like a family affair, but in very glossy circumstances. I’m glad that I’m not footing the bill for it all [laughs]. Let me ask you a question.

Go on.

Anderson: This year you have Gene Simmons but who was the genial host at the last event?

Alice Cooper.

Anderson: So you have a habit of picking Americans?

They tend to have a superior gift of the gab, but if you’re putting yourself forward then for 2012 then get in the application as early as possible. Anyway, let’s talk about the Spirit Of Prog. Why has it undergone such a spectacular renaissance?

Anderson: I couldn’t begin to explain it, but that’s definitely the case. During the last five years there’s been such a transformation of the audience, especially in Latin America. Whereas before it was mainly men in their fifties, now we get late teens to early twenties and even some girls – clearly with the money to pay for expensive tickets, but still having their vinyl copies of Thick As A Brick. It’s quite a sea change. We also noticed it in Italy and Spain, all throughout Southern Europe and the Mediterranean countries.

And in the UK?

Anderson: Here and in America the demographic is still skewed towards the geriatrics, but in the Latin counties there are kids buzzing for what is to them a whole different kind of music… not what their parents or even their grandparents listened to.

Harper: Things are coming round again, in a repercolated manner. In my own case, a lot of young American artists are claiming me as an influence – and we’re talking about some household names – which is creating a younger audience for the kind of things that I was doing thirty or forty years ago. I think this thing is going to carry on for some time yet.

(Interview: Dave Ling)

The awards issue of Classic Rock is on sale now.
Buy the digital edition here http://itunes.apple.com/gb/app/id451398560?mt=8&affId=1621074&ign-mpt=uo%3D6 or here http://bit.ly/sQiaRB
Zinio editions are available here http://bit.ly/ukyn52 or here http://bit.ly/rAwV8P

Roy Harper: “It’s all a myth that Ian and I knew each other when we both lived near Blackpool in the ‘60s. I certainly didn’t know him but he might have been aware of me. The first time I really noticed him was at Hyde Park [June 1968]. Jethro Tull were only very small then but they were one of the many in our corner of the revolution.

“That first free Hyde Park concert was Pink Floyd, me, Tyrannosaurus Rex and Jethro Tull, in that order. But the first time they really took off was at the Sunbury Festival [August ‘68]. I heard Jethro Tull go on stage and the level of applause after the first couple of songs made me realise they were never going to look back from this. They’d actually made it, to the point where they’d broken through. It was obviously quite a moment for them. Actually I was stood there thinking, ‘There but for fortune…’

“But you can’t really think those things. Eventually you say to yourself, ‘Come on Roy, you idiot. This is Ian Anderson, who’s managed to get his thing together in such a professional way that he’s cracked through to a big market.’ And that’s because he’s accessible. Not all of his music is, but his image as a showman is very accessible.

“Ian brought a new and different instrument into the musical canon and helped create a fusion that eventually became known as prog rock. It was a different take than the usual guitar-drums-keyboard-voice line-up; Tull were totally unique. That style they brought in just didn’t exist before Ian. And he’s a different kind of showman to someone like David Bowie; he’s more connected to traditional British forces and folk music in particular. He’s like a bridge between prog and Fairport Convention and it’s an important one. Because for some people that was an introduction to a different life brand.

“Jethro Tull were huge in America, where they translated very well. It was sort of what I would have done if I’d have had a band. But I would have been very different anyway, with me being more jazz-influenced. The thing is that Jethro Tull were doing what I should have been doing, in effect, by actually taking a more traditional English feel to things. And they exported that to the USA. For many Americans their music was very exotically English.

“Ian was honest enough to credit me with being an influence. He was the first person to really do that, probably because he wanted to give credit where it’s due. Whereas people like Roger Waters and Bowie preferred to keep that kind of thing hidden. Which leaves a very important point really, in that Ian is basically a very proud and honest man. He’s very careful and private too. And he’s not willing to compromise. He’s very professional and doesn’t allow anything to come between him and his goal, and that in itself keeps him private.

“I think the last time I actually saw him, before the Classic Rock Awards of course, was years ago in Los Angeles. But we’ve spoken on the phone since then and he’s put parts on my records. We do all our correspondence by email now. It really doesn’t matter whether or not we physically see each other again; we’ll still always be friends.

(Interview: Rob Hughes)

The awards issue of Classic Rock is on sale now.
Buy the digital edition here http://itunes.apple.com/gb/app/id451398560?mt=8&affId=1621074&ign-mpt=uo%3D6 or here http://bit.ly/sQiaRB
Zinio editions are available here http://bit.ly/ukyn52 or here http://bit.ly/rAwV8P

Also in this issue:

Prog Rocks! – Launching the EMI megacampaign of reissues from Charisma, Harvest, Superball and InsideOut, and featuring Ian Anderson, Steve Hackett, Dave Brock, Ray Shulman, Mark Kelly and Roine Stolt, as they face-off in the first of a three-part roundtable debate

“I learnt loads from King Crimson.” – Steven Wilson on the making of new album Grace For Drowning

“Talent’s got nothing to do with success!” says Peter Gabriel, as he prepares for his back catalogue’s orchestral reworking

“I jumped in the deep end.” – Radiohead’s Philip Selway on making his own music his own way.

“We could write a book about the goings-on in Magenta. It’s like prog school!” How the newly trimmed-back trio got where they are today…

“I love music full stop. I don’t build barriers.” – Bill Nelson on Be-Bop Deluxe and his 20-album release schedule in just one year!

“We never thought this would last!” – Mastodon come of age.

“I’d go for anything with a wizard on!” – Comedian Bill Bailey revels in his prog record hoard.

Plus: Anathema, 3, Pineapple Thief, Arch/Matheos, Don Airey, Steve Hackett, Touchstone, Pain Of Salvation, Muse, TesseracT, Lunatic Soul and a bumper free Prog Rocks! 16-track CD…

Find us in your nearest trustworthy newsagent, or order a copy here.

The Iron Maiden frontman will team up with Jethro Tull’s Ian Anderson and Justin Hayward of the Moody Blues for what is being dubbed Canterbury Rocks At Christmas.

This happens on Saturday, December 10, the aim being to raise money for the renovation work needed on the cathedral.

Words: Malcolm Dome

Walking through, the first sight on site are the 21st century morris dancers, who look like black metal nutters dressed up for a posh wedding as they wield what look like baseball bats! Anthony Burgess should have written this into A Clockwork Orange. The droogs would drool with envy.

First band on to the Main Stage on Sunday, July 24 are Love Fungus, introduced by TV personality James May. In fact, this lot are only on the bill because they’re being filmed for the next series of Man Lab. The approach is rap metal and rather clichéd in a late 90s style, but a pleasant enough early diversion.

Heaven’s Basement are the acknowledged and expected opening band on the Main Stage. Just a few years ago, they were hot and happening. British melodic rockers whom some tipped to be the new Def Leppard. But things have been going wrong since then, and today they look and perform like a band who know their time has gone.

On the Metal Hammer Stage, The Treatment emphasise why they’ve now surpassed Heaven’s Basement. Vibrant, focused and full of cranked-up songs. The future belongs the them.

They actually are the second band on this stage, following the impressively intelligent metal of Furyon, a band who can shake any trees yet also have depth of musicianship.

Meantime, over at the Prog Stage, Pallas get everything right into gear with an impassioned performance that climaxes on the deft and evergreen Arrive Alive. They pave the way for The Enid, whose unique brand of classical prog might be bonkers – but is also spellbinding. Robert John Godfrey et al bring back memories of the Reading Festival in 1983 as the set ends with The Dambusters Theme, featuring snippets of Land Of Hope And Glory and Also Sprach Zarathustra. Evocative in the sunlight.

Over on the Main Stage, Saint Jude more than live up to expectations as their groove-riddled blues rock provides the perfect showcase for vocalist Lynne Jackaman’s incredible vocals.

Lynne is the first female on stage at this year’s festival, but she only just beats Sonja Kristina, who leads Curved Air through an extravagant set on the Prog Stage. She really is the earth mother of progressive music, still has a sensual voice and a vital presence.

Dashing over to the Metal Hammer Stage, Gentleman’s Pistols again show why they are such a cult band. Their mix of blues, stoner and hard rock is both a trip back to the early 70s, but also makes them one of the 21st century’s most iconic underground bands.

Sweden’s Graveyard follow the Pistols with a similar approach, albeit much more straightforward. But it’s an enjoyable romp nonetheless.

If only the same were true of Michael Schenker on the Main Stage. He starts well enough, with Into The Arena and Armed & Ready, and one hopes these would be harbinger of a set predicated on classic MSG. Instead, we get two songs from an album not even released as yet, plus Scorpions and UFO tracks. Now, one from each of those bands would have been expected and more than acceptable. But big brother Rudy is on stage, so we get Another Piece Of Meat (fair enough) and Rock You Like A Hurricane, despite Michael having nothing to do with the latter. OK, his drummer today is Herman Rarebell, who is on the Scorpions original. But this is billed as Michael Schenker, not Schenker/Rarebell. We also get Pete Way dancing on for the UFO interlude, and Doogie White stepping out to sing one of the new tunes. All a bit messy, and Michael Schenker’s guitar is often lost in the mix.

Thunder, though, show everyone how it’s all done. They come on to a huge reception and deliver a totally crowd-pleasing set which… well, pleases the crowd. The band sound huge and having the time of their lives, with Danny Bowes once more proving he as an all-time great voice. Thunder are claiming this was a one-off, never to be repeated. Yeah, sure!

Mostly Autumn have come through the gears so well that they seem to be a logical choice for the third-on-the-bill slot on the Prog Stage. Their folk-rock approach is exactly right for this time in the afternoon. And anyone who believes they’ve been elevated above their capacity is soon made to rethink such a rash opinion.

Spock’s Beard are sublime as they follow Mostly Autumn. Their sophisticated, American take on the genre is backed up by an easy manner with the crowd. A definite winner.

As are Black Spiders, in a similar slot on the Metal Hammer Stage. They’ve a vibe somewhere between rock’n’roll and punk. Plus an assertive stage conviction. It all adds up to a band who pull a big crowd and make everyone enjoy the musical heat. The Spiders are surely destined for major honours.

On the Main Stage, it’s Black Country Community who step up next. Eagerly anticipated, this supergroup are still coming to terms with being a band. Glenn Hughes is in his element out front, but the impression is that Joe Bonamassa is taking time to find his niche. But the music is outstanding, the goodwill from the crowd is a torrent and the version of Deep Purple’s Burn is majestic. Hang on, didn’t Hughes recently insist the band won’t be doing any songs from their past? Oh well, it’s a festival. Let’s forgive them.

So, to the headliners. On the Metal Hammer Stage, Neurosis overcome the potentially disastrous situation of playing in daylight. The music is so intense and atmospheric, it usually relies on a light show that’s as much a part of the performance as the instrumentation. But tonight, they overcome all hazards and tripwires. This is a monumental reminder of why they can suck the soul right of out of you, and then replace it in a somewhat damaged yet elevated form.

Not to be outdone, Jethro Tull are at their finest on the Prog Stage. The area is absolutely packed and Ian Anderson leads the band through 80 minutes that pulse with life and some fascinating choices. Thick As A Brick and Hot Night In Budapest are astounding, while it’s fascinating to hear the way they treat Mother Goose and Hymn 43. Inevitably, the main set ends with Aqualung, to major cheers. At this juncture a lot of people drift away; they are quickly sucked back, though, when the band not only return for a well-deserved encore, but are joined by Joe Bonamassa for Locomotive Breath. Hearing the way the Black Country Communion man dovetails with regular Tull guitarist Martin Barre is a revelation. Let’s hope this guest appearance leads to more collaborations between band and the master American guitarist.

Finally, it’s down to Dream Theater to close not only the Main Stage but the whole festival. And they rise to the occasion brilliantly. Mike Portnoy might be gone, but Mike Mangini slots so comfortably into his position that he’s hardly missed. The great thing about the new drummer is that he already has his own reputation, and never feels the need to try and prove he’s worthy of the new position. Even Mangini’s solo has an ease and self-confidence. And the rest of the band seem so relaxed in a set that rightly concentrates on the classics, but has hints at what we can expect from new album A Dramatic Turn Of Events.

It’s a fine way to end two days which made Victoria Park victorious in the world of rock and metal.

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!

This will go out at 11.55pm. It was first aired on January 2, 2009.

Prog Rock Britannia claims to be the first comprehensive, feature-length documentary about progressive music and the generation of bands that made it – from the international success stories of Yes, Genesis, ELP, King Crimson and Jethro Tull, to the trials and tribulations of lesser-known bands such as Caravan and Egg

Narrated by Nigel Planer, the film is structured in three parts – charting the birth, rise and decline of a movement famed for complex musical structures, weird time signatures, technical virtuosity and strange – quintessentially English – literary influences.

It looks at the psychedelic pop scene that gave birth to progressive rock in the late 60s, the golden age of progressive music in the early 70s – complete with drum solos and gatefold record sleeves – and the over-ambition, commercialisation and eventual fall from grace of this rarefied musical experiment at the hands of punk in 1977.

Contributors include Robert Wyatt, Mike Oldfield, Pete Sinfield, Rick Wakeman, Phil Collins, Arthur Brown, Carl Palmer and Ian Anderson.

He’ll be onstage in Perm, Russia, but his partner for this will actually be orbiting the earth in a space station. Because it’s US astronaut Colonel Catherine Coleman (pictured below). This unusual hook-up is being done  to celebrate the 50th anniversary of Russian astronaut Yuri Gagarin’s first manned space flight in 1961.

They’ll be playing part of Bouree from the classic Tull album Stand Up. Coleman’s participation will be shown to fans in the venue via a video link.

Find out mote at www.j-tull.com/

Jethro Tull’s Ian Anderson will embark upon a 13-date acoustic tour of the UK in September 2011.

Anderson says: “I have always wanted to go out in the UK with a small line-up, to play and to restructure the songs and music for a more intimate and personalised performance. After many years of performing in this way for radio broadcasts in the USA, it seems like fun to bring this approach to the UK fans, old and new, and to make them feel like they are in my living room for an impromptu family concert.”

Joining Anderson on the road will be German guitar virtuoso Florian Opahle and pianist/accordionist/percussionist John O’Hara.

The trio will play acoustic verstions of Tull classics, alongside rare and less well-known songs and other re-arranged Tull material. New songs are also promised.

Full dates are:

September 2011

Sat 3rd Shrewsbury Theatre Severn

Sun 4th Gloucester Guildhall

Mon 5th Northampton The Deco

Tue 6th Bristol St Georges

Wed 7th Exeter Corn Exchange

Fri 9th Hayes The Beck Theatre

Sat 10th London Union Chapel

Sun 11th Camberley Camberley Theatre

Sun 18th Buxton Opera House

Mon 19th Gateshead Sage

Tue 20th York Grand Opera House

Wed 21st Grimsby Central Hall

Thurs 22nd Burnley The Mechanics

Tickets go on sale on 1st December.

After a week’s holiday in Greece I am finding it hard to step back into the real world.

The week of sun and sea has left me in a strange daze – and slightly at odds with the permanent fifth gear needed for the other 51 weeks of the year.

I spent my holiday in the Peloponnese. After flying into Athens Airport, my boyfriend and I got in a hire car and drove three hours south west – along the amazing European-funded toll roads, and then the not-so-amazing steep and winding roads which take you through the mountains. Let me tell you, it becomes obvious when the European-funded roads run out. Having made it through the mountains and safely on the other side we continued all the way to the coast. A sudden turn down a dirt track road took us through olive groves right down to the water where the house stood.

Our little one-room apartment was 50 metres from the beach, surrounded by olive trees and big old eucalyptus trees. The owner gave us a crate of fresh home-grown tomatoes, peppers, beans and a bottle of home-pressed fresh olive oil as a welcoming present. For the whole week we did not hear a SINGLE English speaking voice – only Greek.

Our day schedule was as follows:
11.30 wake up
12.00 breakfast on the balcony
1.30 beach (sunbathing, swimming, reading and building wigwams out of
driftwood)
18.30 shower and beer on balcony
21.00 dinner
00.00 in bed with wine and crap 80s movies on TV.
Next day: (see above)
Now – that may not seem very rock’n’ roll – or even very sociable – but it was sheer utter bliss!

Back home, and a barrage of 300-odd emails to sift through. Thank you to all the Trans Siberian Orchestra fans for all the lovely messages after the recent announcement – I really, really appreciate it! I had a long chat with TSO guru Paul O’Neill while in Greece and I know that you are all in a treat for this Christmas tour. Although I’ll miss playing to the huge crowds amidst fire and lasers, it’s definitely the right choice for me. Hopefully I’ll be back touring in the States next year!

I’ve been rehearsing with the band getting ready for the Weyfest Festival (www.weyfest.co.uk). If you’re around you should come down. It’s a lovely festival out in the middle of the country in a farm – or strictly speaking, a Rural Life Centre – complete with working steam engine. On September 4, I’ll be doing a set on the acoustic stage with Byron Johnston, then the next I’ll be playing with my full band and guest ballet dancer Maleficent Martini. She’s an amazing performer who combines ballet with a fetish edge. It’s a family show, so I think she’ll be leaving the ropes and chains at home for this one… her website is almost up and running. Check out the pictures here: www.missmaleficentmartini.com

Continuing in the vein of summer relaxing, this week I have some interesting guests coming over for lunch – Jethro Tull’s Ian Anderson and Terry Jones (Monty Python). I am making fishcakes. They haven’t met before (What, the fishcakes? – Ed.) but I reckon their vast knowledge of life in general coupled with their equal measures of sardonic wit should make for interesting conversation. As long as no one chokes on a fishbone.

No other news for now. Oh, except that the highlight of the week so far was when I took my puppy for a walk and he left the biggest poo on Neil Kinnock’s doorstep. And then peed profusely on his gate on the way back home. No political message intended – my dog is strictly a Guardian reader.

Inspiration Track of The Week:
Lovin’ Spoonful Summer In The City

www.annaphoebe.com