Atom Heart Mother (Pink Floyd, 1970)

One of the most known group + orchestra suites and perhaps one of the most successful ones. This masterpiece of 24 minutes and six movements is more popular today than in 1970 and I think the main reason for this longevity resides in its unpredictable and unclassifiable structure. I won't waste many words to describe a song anyone knows, suffice to say that the whole track is an adventurous exploration of open musical spaces, from rock to jazz, from classical to prychedelia, from blues to electronics. Some acid sounds follow melodic passages and the guideline is provided by a visionary fantasy.

Do you remember Lulubelle III the cow?

Thank you, Storm Thorgerson!

The grand themes and the odd variations, the solos and the orchestral arrangements, the gloomy and the brightness, all is in there and - to say it with other Floydian words - all is in tune. All about this piece has become a legend, after all, from the cover art with no band's name nor album title to the newspaper article that provided the first inspiration for the suite. Recently, I had the chance to attend a public performance of this composition in a crowded arena near my town, set up by an orchestra and a good cover band and I saw so many youths enchanted by the mystery, the power and the intensity of "Atom Heart Mother". I was happy, but hardly surprised.

The Wishing Well (Pendragon, 2005)

"The Wishing Well" is the 22 minute and 4 part suite from the "Believe" album, released in 2005 and inspiring mixed feelings among the band's fans for a questionable lack of melodies. Be that as it may, this track is a prog treat, IMHO. Melodic and rock elements follow one another in a very natural way and each part is coherent with the whole lot, even if one could easily listen to each part as a song on its own. I specially like the main theme, wide and round as a tasty fruit and also the passages from the rockier to the softer sections.

A suggestive cover art for a much debated album.

As Always, Nick Barrett plays the leading role with his guitars and vocals, but all the instruments are there and Clive Nolan's keyboards are an essential point when it comes to create suspended atmospheres. Also the lyrics fit in the epic architecture of the track, reflecting upon human life crossroads. I couldn't choose one single part as my favourite, perhaps I specially like the first and the last movements. In short, an excellent piece of work, proving once again that neo-prog is just... prog!

Out of This World (Marillion, 1995)

This is one of the finest songs from "Afraid of Sunlight", the last Marillion album for a major company, released in 1995. All the tracks in this CD are about celebrity and its risks and this one, in particular, was inspired by Donald Campbell's life. This british speed record breaker got both land and water records and died in 1967 while attempting another record on water with his Bluebird B7 vehicle. One could imagine a fast song for such a speed lover. Well, no, this is a down tempo track, a sad, profound and touching meditation on life and love mysteries, including kind of a last message from Campbell to his wife.

The recovery of the Bluebird wreck in 2001.

A photograph by Steve Rothery.

 

This musical trip is guided by a spectacular H's vocal performance and three beautiful, nostalgic themes. Being a prog song, some very good and dreamy instrumental passages enrich the song and when it's over... you'd like some more. And also the story of this song deserves some more information: after the fatal crash, Campbell's body wasn't found in the depth of Coniston Water, UK, and in the year 2000 Bill Smith, a diver inspired by this song ,decided to try and found both the body and the wreck. Those were recovered between May and September 2001 and Campbell was buried in Coniston. His funeral was attempted by his family and Mr. H who sang... guess which song?

Next song is number 100.

Just an announcement: next post will present the 100th song of my little prog place. I want to thank those of you who spend each day some of their time contacting, reading, liking to and even writing for this blog. I'll keep on suggesting good prog songs.

Octavarium (Dream Theater, 2005)

Many progfans found this suite - the titke track of 2005 Dream Theater album - a little too much derivative song. I think this is a wonderful tribute to progressive rock legacy. The band quote so many different sources and artists it's impossible to list them here, but they succeed in being themselves as usual. It's a much sweeter song than the average DT's production (that's why I like it), but in its 24 minutes many good surprises are waiting for the listener. Here's some of the finest moments: the floydian, atmospheric intro, the flute section, the second LaBrie's vocal theme (really, what a pure and mighty voice this guy has!), followed by Jordan Rudess' Wakeman-esque solo, then here comes a syncopated passage where Myung and Petrucci prove they came across Foxtrot in their youth.

And this music comes with a great cover art...

After this, the best section starts, in which all lnstruments accelerate and the song becomes a fast-forward festival, a ruthless war between guitars, keys, bass guitars, vocals and drums. They all win, of course. The final section seals the peace with a grand, fluid, melodic wall of sound, a flight above the oceans of sound, towards some far progressive sky. Well... something like that, I mean.

Dance on A Volcano (Genesis, 1976)

When Peter Gabriel left the band in 1975, most of the fans and the critics really thought Genesis were at en end. The opening track of "A Trick of The Tail" proved this was a big, very big mistake. From the first note to the last, "Dance on A Volcano" is a festival of creativity, energy and pure progressive rock, a brilliant jewel added to the Genesis crown, one of the best tracks they ever wrote and performed. Yes, about this performance: Phil Collins sings and plays his drums with a renewed strength and he's worth three different ones: the singer, the drummer and the leader.

...And then there were... four!

And what about Steve Hackett's guitars? They're flamboyant, just like the lava the lyrics evocate and Tony Banks - as usual - creates the musical architecture on which such a vibrant song rises like a gothic cathedral. A special mention goes to Mike Rutherford's bass lines, perhaps never so strong and varied, colourful and enthralling. It's no use to push on this introduction: I want to listen to the song once again... and see if the volcano here outside my window keeps on sleeping...

Hocus Pocus (Focus, 1972)

The Dutch band Focus released many good songs, some of which are very intricate and serious ones. But when they add their trademark pinch of humour they definitely win. This is the case with the instrumental track "Hocus Pocus", maybe their best known song, taken from "Moving Waves" album. There's almost averything in there: a catchy guitar riff, a disney-like magic atmosphere, vocal harmonies, some flute à la Jethro Tull, a medieval scent, guitar vs keyboards battles, even a good imitation of an Alpine yodl.

Hocus Pocus was also released as a single.

It's a funny and intriguing track you can't help listening till the end end enjoying it each time a little more. The engaging rythm of "Hocus Pocus" is specially suitable for live performances, that's why this song was and still is a favourite in concert. It's a living proof that prog can be a joyful music.