Prog fan appreciates coverage
Thank you, Goldmine, for recognizing progressive music as more than “pop and circumstance.”
I’ve always viewed prog less as an offshoot of “pure” rock than as a sort of neoclassical music played on rock instruments, often like true classical, going all over the place within the space of a single composition.
Here, in no particular order, are some of my favorite prog albums: Yes: Yes; Jethro Tull: War Child; Eno: Here Come the Warm Jets; Gentle Giant: Acquiring The Taste; Moody Blues: On the Threshold of a Dream; King Crimson: Lizard; McDonald & Giles: McDonald & Giles; ELP: ELP; Genesis: A Trick of the Tail; Joni Mitchell: The Hissing of Summer Lawns; Nektar: Remember the Future; Jade Warrior: Released; and Captain Beefheart: Strictly Personal.
I’ve included The Beefheart — even thought it’s pre-progressive — because never have overbearing, psychedelic production techniques been so at odds with out-there-already recorded material, yet turned out such a satisfying finished product.
— Tom Prehoda
Reader remembers Myddle Class
It was the summer of 1966 in Albany, N.Y. The Myddle Class had charted “Don’t Let Me Sleep Too Long” on the local station and were playing dates all over the upstate area. They took up a week’s residency in a little club in Rensselaer, N.Y., called Kapps in the Hollow, and I spent nearly every night and every set with the band. WE talked between sets about their next gigs, a hoped-for album (never realized) and their experiences in New York City. All in all, a most memorable summer, it was bar-band music, but up close and personal, played by guys my age. They performed the rest of the summer at various clubs in this area and then were seen no more.
As to their 45s, the only two releases I ever heard on the local radio was the above-mentioned song and “Free as the Wind.” I have been informed by a friend who operates PDS/Honeycat Productions that much of their music is available on the Internet. Four 45s were apparently the only official releases, three on the Tomorrow label, a Carole King/Jerry Goffin operation, and a reissue of one of the Tomorrow releases on the Buddah label years later in 1969. Various other cuts from the never-completed album have also surfaced on various anthologies.
A note to Thom, who made the Myddle Class inquiry in your Sept. 12, 2008, publication: The band apparently came out of Summit, N.J., your home state. Small world, isn’t it?
— Howard J. Carr
More about the Myddle Class
This is for Thom Lynch, and others interested in The Myddle Class.
This info is from three sources: “Osborne & Hamilton’s Original Record Collectors Price Guide,” 3rd edition, 1981; Jerry Osborne’s “Rockin’ Records,” 2007; and notes from the “Mindrocker” booklet that came with the CD box set. “Mindrocker” was a series from Germany of fun 1960s U.S. garage-rock songs. Originally 13 albums were released in 1984 and later reproduced, remastered on CD. I’ve only seen the “Mindrocker” CD box set —Volumes 1-13. Much of the info here is from the booklet that came with the set. Volume 3 includes “I Happen to Love Her” by The Myddle Class.
The Myddle Class was originally from New Jersey. They played in the New York Village clubs (Night Owl, Cafe Au Go-Go, etc.) They were signed in 1965 by Go