Innehållsförteckning för Issue 161 från Prog

Marillion guitarist Steve Rothery and Tangerine Dream’s Thorsten Quaeschning have teamed up in a cinematic new project, Bioscope. Their debut album, Gentō arrives on August 22 via earMUSIC. “I spoke to Thorsten after a Marillion show in Berlin on the F.E.A.R. tour in 2018, and we got on really well,” says Rothery of the collaboration. “We thought that it would be cool to try something together. But nothing really happened until he played a solo show in London in 2020. He had a day off the next day, so we arranged for him and his roadie to bring all his equipment up to [Marillion’s studio-cum-HQ] The Racket Club, and we jammed for the day.” The pair bonded instantly. “It was pretty obvious from the first note that we shared a…

“It sounds like a Best Of… but with new songs,” says Mariusz Duda with a smile as he ponders Lunatic Soul’s eighth album, The World Under Unsun. The double LP – which is spread across two CDs or two slabs of vinyl – is scheduled for release via InsideOutMusic in late October and has already been heralded by the recent release of the eponymous single. And according to Duda, …Unsun not only draws on the disparate components of Lunatic Soul’s previous seven albums, it also brings to a close the circle of life and death that has been at the thematic core of his work. “I decided to sum all the elements on one album, which is why it’s a double,” explains Duda from his home in the Polish capital…

Ayreon mastermind Arjen Anthony Lucassen is preparing to release the first album under his own name since 2012’s Lost In The New Real. Something he feels is long overdue. Songs No One Will Hear is only the third solo album of Lucassen’s otherwise prolific career. Last year alone he collaborated with Simone Simons on the Epica singer’s solo debut Vermillion and worked on the Ayreon live album 01011001 – Live Beneath The Waves, while also putting together Plan Nine’s The Long Lost Songs with vocalist Robert Soterboek. “It was heavy work, and all with other people,” he says. “So at some point I said, ‘I’ve got to do something for myself, I need to be an egomaniac, and make a solo album where I can just do whatever I want.’”…

Pivotal to how the band worked then and continue to write and create now, producer Dave Meegan was part of a slew of pivotal Marillion albums. He was producer on Brave, Afraid Of Sunlight, Anoraknophobia and Marbles, plus mixing 1997’s This Strange Engine, though his input goes far beyond sitting behind the studio glass and asking for more cowbell. That said, his first interaction with the band wasn’t something he thought might ever lead to collaborative musical greatness. “They were typical rock stars,” says Meegan with a laugh. “Oh God, yes, unbearable.” Back in late 1983, Marillion were in Sarm East Studios in London recording Fugazi. Dave Meegan, in an embryonic stage of his career, was that album’s tape op. “They were living the life. They were just full of…

“We played with a lot of energy,” says drummer Duncan Parsons after the John Hackett Band’s first gig of the year. “But not always the right notes!” Parsons’ self-deprecating humour aside, after a decade of playing together, JHB are a group perfectly in synch with themselves and their music. Alongside Parsons are guitarist Nick Fletcher, bassist Jeremy Richardson, and virtuoso flautist/multi-instrumentalist John Hackett, the man who gives his name to the band. A prog veteran, John’s professional career stretches back to 1975 when he featured on his older brother and Genesis guitarist Steve Hackett’s classic debut solo album, Voyage Of The Acolyte. Since then, he’s recorded prolifically, from further collaborations with Steve, Anthony Phillips and Steve Hackett alumnus Nick Magnus, as well as ambient group Symbiosis, to nine solo albums…

In this modern world of progressive rock, with new acts appearing all the time, albums that are based solely around keyboards remain unusual. Even rarer are those that rely solely on analogue instruments. One of the few remaining flag-bearers for this style of instrumentation is Lars Fredrik Frøislie, best known for his work with Norwegian bands Wobbler and White Willow. A visit to Frøislie’s basement reveals a treasure trove of vintage instruments – enough to warm the cockles of any 70s prog fan. “They have a sort of soul, you know, because of the smell and touch as well as their sound,” he says, reflecting on his passion for the musical tools of that era. “I recently posted a video online where I was turning on the Mellotron and some…

Avkrvst (pronounced “aw-crust”) were born to play music together. The dark prog newcomers’ founding members, lifelong best friends Simon Bergseth (vocals/guitars/bass) and Martin Utby (drums/synthesisers), are the sons of two musicians from Norwegian experimentalists Tammatoys. When they were as young as seven years old, they knew they were going to follow in their fathers’ footsteps. “We always had this vision,” Bergseth tells Prog on a video call from his home in Oslo, “and we kind of made a pact that, when we grew up and got as old as our dads, we were also going to start a band.” The pair took a bit of time to follow up on that promise. However – after they assumed the Avkrvst mantle and recorded their first album, The Approbation, both aged 28…

Stunning collaboration yields two albums that are different but the same. As a producer, electronics pioneer, multimedia artist and self-confessed non-musician – and that’s just touching the tip of a colossal iceberg that could sink a fleet of Titanics – Brian Eno has a reputation as a singular figure in the cultural firmament that was cemented a long time ago, but his ongoing commitment to the creation of new works is also deserving of applause. And so it proves once again with the simultaneous release of these two albums made in collaboration with Anglo-American conceptual artist and composer Beatie Wolfe, whom he met through their shared environmental work at the South By Southwest festival in Austin, Texas. “Each album takes off in its own direction to cross paths mid-orbit.” Be…

The solo album bravely steps away from its creator’s safe space. As the singer in Steve Hackett’s live band for many years, Nad Sylvan’s located the perfect midpoint between the vocal styles of Peter Gabriel and Phil Collins, while never forsaking his own soulful spin on those tones and timbres. He’s made a challenging gig seem easy. Away from the Genesis Revisited repertoires, his solo work has only hinted at a distinct musical personality. His first few albums remained indebted to his muses, hugging the shore of Genesis. This was no bad thing: the superb Courting The Widow and The Bride Said No offered magical visits to that mother lode, a kind of methadone for those who wish more mid-period Genesis albums existed. And his formative work with Unifaun, bordering…

Australian post-rockers continue their journey through light and shade. After three albums in four years, Australian post-rock sextet We Lost The Sea have taken their time with their last two releases. Four years of rumination and writing preceded 2019’s Triumph & Disaster and now, six years later, they’re back with A Single Flower, another patience-testing sparring between quiet and loud that, though nothing new to the genre, is a concept they’ve made their own. Reunited with Departure Songs producer Tim Carr, their sonic template remains largely unchanged, but their conviction at actualising their vision has never felt so imperious. “Their six new compositions are lessons in patience.” Fittingly, their six new compositions are lessons in patience. The pay-off that A Dance With Death offers after such elongated solemnity is resplendent:…

New remasters champion cult US proggers’ Arista years. Formed in Virginia in 1973, Happy The Man belonged to a relatively small subset of American musicians responding to and, in some cases, directly inspired by progressive music emanating from the UK and Europe. Although early incarnations of the group’s evolving line-up cut their live teeth performing VdGG and Genesis material, by the time they signed to Arista Records to release their 1977 self-titled debut, they had acquired a substantial clutch of original compositions showcasing a highly crafted blend of symphonically inclined music. “In full flight they’re reminiscent of Genesis or PFM.” Intricate and complex themes rub shoulders with zig-zagging rhythms, all gracefully articulated by a tightly-knit combination of Stanley Whitaker’s guitar, Kit Watkins’ mellifluous keyboards, and Frank Wyatt’s disciplined sax poking…

VENUE CARTERET PERFORMING ARTS & EVENTS CENTER, NJ, USA DATE 18/05/2025 Jon Anderson loses his way in the middle of Close To The Edge. It’s the opening song of the final show of this leg of the Yes – Epics, Classics & More Tour, and he stops, clearly unsure of his place in the song. There’s a moment of confusion. A short, awkward pause. And then Anderson looks down, where a strategically placed teleprompter puts him back on track. He picks up the right line and starts singing again, as a supportive roar of applause ripples around the room. It’s a moment that doesn’t auger well for the rest of the set – the singer is 80 years old, after all – but it’s a blip, a brief aberration. Anderson…

VENUE EARTH, LONDON DATE 23/05/2025-24/05/2025 All good things must come to an end. After almost a decade of championing post-rock, math rock, prog and more, London two-dayer Portals is sadly unable to continue. The organisers blame financial burdens for the end of the festival, which books acts for all three stages at Hackney’s EartH venue, but nonetheless they’re bowing out with one of the strongest line-ups they’ve ever put together. On Saturday, Newcastle prog metal four-piece Giant Walker open the second stage. The band told us last year that they hope to make their genre as “accessible” as possible, and that goal is quickly realised. Drummer Alex Black gives their otherwise avant-garde music an infectious bounce, while Steff Fish’s vocals are as powerful as they are melodic. Later, post-rock/metal instrumentalists…

Where’s home? The south of Glasgow, Scotland. I’ve moved five times since 2013, so hopefully this’ll be my last. What’s your earliest memory of prog? Hearing Foxtrot by Genesis in 1972 at our house after my brother Martin bought it. He was already buying stuff by bands like King Crimson and Pink Floyd. I was 12 at the time. What’s the first prog album you bought?  The Dark Side Of The Moon, from a store in Glasgow called Listen. It was way ahead of its time musically, a brilliant follow-up to Meddle. And the most recent? Dominion by IQ and I love it. They’ve never recorded a bad album, in my opinion, and I really enjoy seeing them live. We need to get them back up to Scotland to do…

Between The Buried And Me vocalist Tommy Giles Rogers says their forthcoming LP, The Blue Nowhere, “pushed us to the limit as musicians,” and finds them blending “calm and chaos” in their signature manner. Arriving September 12, it’s the progressive metal band’s first release with InsideOutMusic and succeeds 2021’s Colors II, the sequel to their 2007 breakthrough record. “We were looking to the future with Colors II, but also looking in the rear view mirror trying to recreate a mood that we had however long ago. With this album, we broke the rear view mirror,” says Rogers. “We wanted to come out of the gate with something different: it’s a wild ride.” Conceptually the album is set in a fictional hotel, The Blue Nowhere, with each song representing a different…

“As the cliché goes, it’s all about the journey, not so much the destination,” says Tuomas Holopainen. For the Finnish musical mastermind, wheels are very much in motion. Auri, the band he formed with his wife Johanna Kurkela and Nightwish bandmate Troy Donockley, are set to release their third album, III – Candles & Beginnings. Drawing on everything from folk and prog to symphonic rock, the album shows just how expansive their sound has become. “We don’t gather together and plan things ahead,” he says, “like, ‘Let’s do this kind of Auri album, let’s bring in more guitars,’ or ‘Let’s do folkier stuff.’ We never do that. It’s all just pure songwriting freedom and seeing what we come up with.” “Just when you think there’s some kind of template, it…

Tributes have been paid to Nova Cascade mainstay Dave Hilborne, who has died at the age of 56. At the time of writing, no cause of death had been announced. Hilborne’s skills as a singer and keyboardist were initially bolstered by bassist Dave Fick, flautist Charlie Bramald, guitarist Alessio Projetti and violinist Heather Leslie. They were latterly augmented by the late Nine Skies guitarist Éric Bouillette and drummer David Anania. Nova Cascade released the albums Above All Else (2018), A Dictionary Of Obscure Sorrows (2019), Back From The Brink (2021), The Navigator (2023) and 2025’s Box Man. Writing on social media, Bramald said, “His devious chord structures were routinely challenging for me – a total novice at creating any kind of original music – to write parts around, but he steered…

“He’s my father-in-law, but that’s by the by. His was one of those names that always kept cropping up and I never thought his music would be my bag at all when I was growing up. I got into it when I started hanging out with him. And when I saw him play for the first time, it blew my fucking mind! You know when you listen to Robert Johnson records and you can’t work out what he’s doing? I got that straight away with Richard, especially on acoustic guitar, because it’s so hard to master. He can make it sound as if three people are playing the guitar at once. It’s very impressive but it’s very musical at the same time. It’s an amazing thing to watch, but you…

“Afraid Of Sunlight escaped more than it was released.”Steve Hogarth Do you know what was really amazing?” asks Steve Hogarth. “It was like it had sunk the day before, but in fact, it had been down there for nearly 40 years. It still had the Union Jack on the tail fin, and it was still so blue, so much of it was still intact.” “I was at the end of the pier taking photos, as the craft broke the surface of the water and they hauled it out of the lake, while all of the world’s press were a hundred yards behind me behind a barrier,” continues Steve Rothery. “It was quite spooky when I think about it. Like someone raising the Titanic.” “I remember watching [the accident] happen on…

“Steven [Wilson] was probably about 19 [when he joined Pride Of Passion]. I remember that he was very keen and a hugely creative individual. He really was a unique talent and provided a very positive input into the band at that time.”Diz Minnitt It’s been four decades since Pride Of Passion last surfaced, yet they remain fondly recalled by those who were entranced by their frequent gigs at the Marquee. A household name they most certainly aren’t, but the band possessed significant prog credentials back in the mid-80s. Former Marillion colleagues Brian Jelliman and Diz Minnitt were core members, with their sound at one time being augmented by one Steven Wilson on keyboards. “Steven was probably about 19 [when he joined the band],” recalls bassist Minnitt. “I remember that he…

Back in 1983 a young Robert Reed travelled from Wales to Wembley for a show by his hero, Mike Oldfield. At the end of the 20-minute Crises, super-talented drummer Simon Phillips let loose in a virtuosic display that made a lasting impression on Reed. He bought a bootleg tape and played that drum solo to death. “Whenever I send Simon my stuff, I always think I’m not challenging him enough,” Reed tells Prog more than 40 years later. “I told him I thought I was insulting him by not telling him to play something bonkers. He said, ‘No, I love playing your stuff because it’s just melodic.’” Phillips has now played on all but the first of Reed’s four Sanctuary outings (five if you count 2021’s The Ringmaster). The project…

Born in Canterbury, Kent, into a musical family, Richard Sinclair initially learnt to play ukulele encouraged by his singer father. He was also a choirboy at school, and, aged 16, became a guitarist in The Wilde Flowers with his friends Hugh and Brian Hopper. Although the group never released any music in their lifetime, they became legendary as the progenitors of the so-called Canterbury scene. In 1968 Sinclair was one of the founder members of Caravan, which included his cousin Dave Sinclair on keyboards, and switched to bass guitar and shared vocal duties with guitarist Pye Hastings. The songs on Caravan and If I Could Do It All Over Again, I’d Do It Over You (1970), were all group compositions, but Sinclair’s vocals and songs came to the fore on In…

True life informs the versatile guitarist’s first post-Crimson solo disc. Anyone who read Jakko Jakszyk’s autobiography published last year, Who’s The Boy With The Lovely Hair?, will know that the latter-day King Crimson frontman and well-travelled multi-instrumentalist has a fair few tales to tell, and can impart them with engaging skill. Perhaps while still in the mindset of exploring his own backstory, he’s released this ninth solo album with strong autobiographical elements woven throughout. “Son Of Glen channels 80s-sounding, easy-on-the-ears art-pop.” That may be one reason why Son Of Glen feels very much like a lyric-led album, with music created to frame personal thoughts and reflections, in a singer-songwriterly fashion that may seem distinctly in contrast with the KC work Prog readers will best know him for. He’s turned his…

Electronic pioneers (re)sent to Coventry half a century after legendary show. Tangerine Dream’s invitation to play Coventry Cathedral in 1975 was a hot potato. In December the previous year, the classic line-up had performed at Reims Cathedral, where around 6,000 “hippies and deadbeats” turned up and desecrated the coronation site of French kings, according to France’s biggest news outlets. Concerns that the same thing could happen again in England were never far away, while others saw the invite to a Berlin-based group as a mark of disrespect anyway, given that the original Coventry Cathedral had been bombed by the Germans during the war, a catastrophe that would have been fresh in the memory for many in the West Midlands at the time. In the end, the event went off without…

Five discs of previously unreleased material from the Celtic rock pioneers. In the early 70s, Horslips’ modus operandi was to ally their love of The Beatles, Jethro Tull and Deep Purple with the tunes, instrumentation and legends of traditional Irish music and, as guitarist Barry Devlin has said, “make it grand rather than little”. Of course there was no guarantee that the Dublin band would make this combination work, but they did so in grand style, as this collection of BBC sessions shows. “A reminder of just what an inspirational band they were.” A BBC In Concert broadcast from 1973 features music from their concept album The Táin, ambitiously based on an Irish saga thought to date back to 500BC. On Ferdia’s Song, violin and tin whistle are seamlessly integrated…

STEVEN WILSON VENUE LONDON PALLADIUM DATE 20/05/2025 SUPPORT FRANK SKINNER Frank Skinner is barely five minutes into a short but well-received set when he meets Eric. When Prog says “well-received” it is by the majority of the audience, but clearly not Eric. Seated in the front row, he’s the first person from the audience that Skinner opts to engage with. He probably wishes he never bothered: Eric is clearly of the “a progressive rock concert is no time for levity” school of thinking. While Skinner runs through musings on a variety of topics from Bruce Forsyth and a gag about teenage boys and socks that brings equal “Eeew”s to laughs, to a few well-aimed digs at prog (“If you think that’s indulgent, wait for later!”) that hit the mark and…

VENUE THE BARBICAN CENTRE, LONDON DATE 26/05/2025 Hawkwind fans have taken over London’s premier bourgeois arts hub en masse this evening. The Barbican is a long way from the wild happenings of the Roundhouse and residencies at All Saints Hall in 1969, but Hawkwind are barely more respectable than they ever were. They’re in the right place, as intrepid innovators in sound and stagecraft. While there’s no Del Dettmar and Dik Mik with their wobulator, the ever-evolving Hawkwind light orchestra is in full effect with awesome lightbeams reaching out into the crowd like neon totalitarian fists. It’s impossible to resist. For a band who’ve stood for 56 years, albeit with personnel changes, Hawkwind are sprightly, indomitable, a walking and enduring miracle, and still as grumpy as ever. Dave Brock speaks…

Send your letters to us at: Prog, Future Publishing, 121-141 Westbourne Terrace, London, W2 6QA, or email prog@futurenet.com. Letters may be edited for length. We regret that we cannot reply to phone calls and we cannot always respond to individual messages. Find us on facebook.com under Prog. THE SQUIRE OF PROG! I really enjoyed your tributes to Chris Squire in Prog 160, but – getting very‘muso’ here – one further bass innovation he brought about that I don’t think anyone mentioned is the drop tuning of his low B string (on a five-string bass) down to an A. To the best of my knowledge, no other five-string bassist has attempted/achieved that. It helped create that brilliant, lumbering riff to Big Generator’s title track. It was also great to see some attention…

Giles, Giles & Fripp, the Bournemouth band that would morph into King Crimson, are to see their 1968 debut album, The Cheerful Insanity Of Giles, Giles & Fripp remastered and reissued on CD and vinyl on July 4 via Panegyric/DGM. Augmenting the release is The Brondesbury Tapes, a collection of home demo recordings on CD and digital formats. Made between 1967 and 1968, when the trio shared a flat at 93a Brondesbury Road in north London, these recordings offer an insight into how the band developed their sound. They include early versions of I Talk To The Wind. Also released is A Selection From The Brondesbury Tapes, which contains 13 of the best-quality audio recordings from these sessions and will be available on 200g vinyl. The new version of the…

Heavy proggers Ihlo are to break a half-decade gap with the release of their second album, Legacy, which will see the light of day on August 29 via Kscope. It will be available on dark green double vinyl, black double vinyl, CD and digitally via all major streaming and downloading platforms. Spread across 10 brand-new tracks, Legacy was recorded at The Arch Studios in Southport, which is housed within a 140-year-old restored church. According to the band, the location’s acoustics made a huge impact on the sound that captures the songs’ “shimmering ambience and tightly wound rhythmic propulsion.” Thematically the album imagines a near-future where technological advancement feels increasingly hollow and is governed by profit rather than purpose. Having recently completed a UK tour, Ihlo will take the road for…

Brazilian-Canadian guitarist Rod Rodrigues is the first to admit that his life has been a series of happy accidents. “I was 37 when I left Brazil and Canada wasn’t really in my plans,” he says, speaking from his home in Toronto. Originally planning to teach music in Belgium, he moved to the land of the maple leaf after being convinced by friends. “The only thing that I knew about Canada back then was that Toronto is there. I thought that Montreal and Montreux were the same city!” Reflecting on his childhood, Rodrigues recalls that his first instrumental love wasn’t the guitar but the drums. It would’ve stayed that way had it not been for his mother. “She always wanted me to play guitar,” says Rodrigues of another unplanned deviation. “She bought…

“There are times when I see some potential artwork for the band, and I think, ‘That’s it, that’s the one,’” says Steve Rothery. “Like when I first saw the Brave cover. But with Afraid Of Sunlight, it was a little bit harder to agree, let’s say that.” For those who might have missed it, the 2019 deluxe reissue of Afraid Of Sunlight came with the revamped cover of a fluorescent Christ The Redeemer, the giant icon whose beatific gaze usually looks out over Rio. It’d graced the back cover of the album up until then, but years before it had been presented to Marillion by graphic designer Bill Smith at Parr Street Studios in Liverpool as the potential cover, echoing the lyrics of the album’s title track. For all the…

“I’m happy that we got to live this dream that we had together. What we’ve created together can’t be taken away from us, but some relationships go on for a long time, and maybe you don’t realise that you’ve grown apart.” Alot has happened since Jonas Renkse and Anders Nyström began writing the first Katatonia music – a raw and melancholic take on death/doom metal – in 1991. The vocalist and guitarist have evolved in more ways than one, quickly outgrowing their studio-only twopiece origins to become one of Scandinavia’s contemporary metal greats while sonically maturing far beyond those original borderlines. Their sonic palette made space for more progressive peaks and tender lulls. Renkse’s growled vocals were left behind and a greater level of sophistication was woven into their music,…

“You are what you are,” says ou Hedvig Mollestad. “Everything else comes second – trying to get gigs, trying to find a market, blah blah blah.” Markets and gigs notwithstanding, Bees In The Bonnet, the eighth album from the Hedvig Mollestad Trio, follows the eardrum-shredding trajectory of its predecessors by refusing to quietly inhabit familiar forms of jazz and rock. Together, guitarist Mollestad, bassist Ellen Brekken and drummer Ivar Loe Bjørnstad have mastered the art of combining heaviness and power with improvisation and interplay, although on Bees In The Bonnet, their sound is darker and more menacing than ever. Four years have passed between releases from the trio, during which time Mollestad composed music for the Moldejazz Festival and recorded 2022’s Maternity Beat with the Trondheim Jazz Orchestra. Then there…

Returning to a certain point of their back catalogue can be a profoundly uncomfortable experience for some artists. All they can hear are the circumstances in which the music was born, the difficulties in writing that material, or shortcomings in performance; a gap between the artistic tangle of what is in their head versus the unforgiving reality of the finished item. For Mike Oldfield, Hergest Ridge will, to some extent, always be a reminder of the crushing pressure to produce the follow-up to Tubular Bells while still coming to terms with the stresses and strains of sudden fame. Expected to field the demands of the music press while also being caught between the rock and hard place of unresolved family issues, a chronic lack of self-confidence, and anxiety attacks, it’s…

In their 20th year, the maestros of melancholy cut to the chase. In the 20 years since their debut album, Sol29, Giancarlo Erra’s Nosound have plumbed the depths of bittersweet melancholy like few others. Set deep in the glum-lands of prog and post-rock, the Italian band have eked beauty from sadness on, notably, 2008’s grand Lightdark, the crisply articulate Scintilla (2016) and their most recent, electro-enhanced album, 2018’s Allow Yourself. “This is desolately lovely, miserably minor-key music.” Seven years on from the latter, the five-track To The Core sees Erra return to more organic sound sources and double down on the downerism. Once again, this is desolately lovely, miserably minor-key music, with Erra’s production skills being Nosound’s not-so-secret weapon. Bassist Orazio Fabbri and drummer Daniele Michelacci give a mid-tempo pulse…

Steven Wilson’s 2016 remix gets an extra polish. Recorded during rare gaps in a relentless touring schedule, Chicago’s second album is the sound of a young band blossoming in real time. The previous year’s Chicago Transit Authority was an unusually precocious debut that heralded the sextet’s versatility, their jazz-rock virtuosity, and their penchant for banging tunes. Chicago II (or Chicago, as it was officially titled) emerged barely nine months later: a second double album, it reached the US Billboard Top 20 and established the band as unashamedly progressive mainstream heavyweights. “Elaborate epics, fiery jams and whip-smart songwriting.” Chicago remained successful for at least the next 25 years, but their steady descent into acrid, AOR gloop during the 80s had a deleterious effect on the reputation of a once genuinely forward-thinking…

A series of audio and visual time capsules spanning four decades. Capes and choirs, orchestras and a Las Vegas-era Elvis jumpsuit, they’re all present in this extensive box set capturing Rick Wakeman live onstage from 1980 to 2014. There are six performances in total, five represented on DVD and CD, and one – a 1987 concert from London – presented just on two CDs. “There’s a broad range, from prog classics to Christian music.” Inevitably, there’s some repetition across the collection – Journey To The Centre of The Earth appears in one form or another in every concert, and Catherine Parr and Anne Boleyn are setlist regulars. There’s still a broad range of material from prog classics to Wakeman’s forays into Christian music like Welcome The Star, and arrangements of…

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