It seems like while my generation has remembered a lot of music of the 1960s and 70s, the largest genre that has not retained too great a base of young fans is prog rock. You see teenagers with Pink Floyd shirts and Who posters all the time, but when’s the last time you saw one with a King Crimson shirt and a Yes poster on the wall, passionately air-fluting to Jethro Tull?
Well, you probably haven’t. Or at least, I haven’t. Although I manage to associate with a whole bunch of old rock nerds of approximately my age, very few of them have the patience or the stomach for prog rock. I’m not saying I do– not entirely, anyway. But in the right mood, I can really enjoy good prog, especially some of the more obscure (and in my opinion, less pretentious) stuff, especially from the late 60s and very early 70s, before the genre had largely departed from its roots in blues and psychedelic rock.
So what exactly is prog rock? For a start, the name is abbreviated from “progressive,” which was supposedly the idea. By fusing the vast majority of possible musical genres, and incorporating jazz, world, and classical influences, it seems that prog rockers hoped to further the very notion of popular (or unpopular) music itself with legendary technical proficiency and infamously long songs. Prog rock was about vision– more specifically, achieving musical vision. It can be interpreted as rock’s most introverted, fanciful side. Even lyrics often dealt with whimsical, fantastical themes, and intricate, dense instrumental passages separated prog even further from mainstream music.
Ironically, it is not precisely a prog idol I give you today, but instead, a prog castaway. Blodwyn Pig came to be when Mick Abrahams departed Jethro Tull in 1968 after playing lead guitar on their debut album, This Was. Apparently, the split was due to both personal and musical differences. Although according to rumor (propagated by Circus Magazine), Abrahams’ split from the group was due to his refusal to work seven days a week, it appears to have been more as result of vocalist/flutist Ian Anderson’s increasing control over the musical direction of the band.
So, after his departure from Tull, Abrahams founded Blodwyn Pig. Jack Lancaster, who often played two woodwind instruments at once, but was officially the band’s saxophonist and an additional vocalist, would also become incredibly influential in terms of the band’s creative and musical development. Andy Pyle, who would later play with Savoy Brown, Wishbone Ash, and The Kinks, was on bass; Ron Berg, who would end up in an incarnation of Juicy Lucy played drums. Famous for their live shows, Blodwyn Pig were in the long run more of a cult success than a mainstream one, and while the two albums they made before breaking up in 1970 charted in the US and UK, the band has unfortunately fallen through the cracks for young fans in recent years despite several reunions through the 90s, and a body of excellent material.
These two songs, “See My Way” and “Dear Jill” might be the two best-known Blodwyn Pig songs. You might recognize “Dear Jill” from where it is used as background music in Almost Famous— a movie I have no doubt I will soon post about.
However, my favorite Blodwyn Pig songs (at least so far) are lesser-known. “Same Old Story” is a great, energetic track more psychedelically influenced than a lot of their stuff. Then “Up and Coming” shows their bluesier side balanced with the technical mastery and complexity that distinguished them as prog rockers, whether they liked it or not.
In short, no matter your opinion (or lack thereof) of prog rock, you will not regret checking out Blodwyn Pig. A great band with a very interesting history, and some fantastic material that shows outstanding range, especially considering their extremely limited output. Three cheers for prog rockers– the ultimate nerds of classic rock. Whenever you can find the patience, you should make their lifetime’s worth of practicing scales count– you won’t regret giving them a listen.