Alive at ProgStock is a beautifully recorded two-CD/1DVD concert recording by Robert Berry’s 3.2 from 2019, providing joyful spin of old school mid-’70s progressive rock. Indeed, the only “absent friend” is a cover of Premiata Forneria Marconi’s tune “Celebration,” as that is the central vibe here.
To (sort of) quote Stephen Hawking, please allow a brief history of prog time: In 1988, Robert Berry teamed with Keith Emerson and Carl Palmer (EBP, perhaps?) and recorded … To the Power of Three, which by ’80s standards is a prog highlight. True, there were big power choruses, but the album included the multi-part “Desde La Vida,” a cover of the Byrds’ “Eight Miles High,” (the very wonderful) “You Do or You Don’t,” and the grand finale of “On My Way Home.” Twenty-seven years later, (and well documented in the between song introductions!) plans were set for a 3.2 return. Sadly, Keith Emerson’s passing put a halt on that reunion.
Robert Berry ended up recording The Rules Have Changed, which included several Emerson-Berry compositions. A 3.2 album titled The Third Impression (with Berry playing all instruments) continued the prog-rock pulse with a very modern touch that thankfully still burned with incendiary heat in a hot-seat moment.
And Alive at ProgStock does indeed catch that prog-rock fire that passes some sort of an eternal torch. As said, it’s a joyous and very human celebration. And let’s just say that prog rock, despite is occasional “Apocalypse in 9/8” – which, of course, “co-starred the delicious talents of Gabbel Ratchet” – is all about standing firmly on terre firma, yet gazing into that always artistic “starry night.”
But to the music: This a wild (as said!) celebration of prog rock music. Disc 1 of Alive at ProgStock ignites with the complex ride of “Life Beyond L.A.,” with original Hush member Paul Keller on fiery lead guitar, Jimmy Keegan on thunderous Spock’s Beard and Pattern-Seeking Animals percussion, and Circuline’s Andrew Colyer on (to quote King Crimson!) “dipper ride” keyboards.
Ditto for “No One Else to Blame,” that glances at the shimmery sound of the first … To the Power of Three album with a huge chorus and a matrix instrumental mix of soaring guitar and oddly intimate piano-graced patience. And “Powerful Man” just pumps very precise prog glory. Things quell for “Last Ride into the Sun” which has an almost Pictures at an Exhibition dramatic vibe. This is vintage beauty.
Oh my! (the before-mentioned) “Desde La Vida” gets an epic seven minute-plus workout, as Keith Emerson’s ghost rides keyboard shotgun with Robert Berry’s 3.2. Oh my (again)! Berry then teases the prog crowd with a “tribute” to Jethro Tull’s “Minstrel in the Gallery,” which dissects the original, and then enlarges the cornerstone of the tune’s melody. Disc 1 ends with an acoustic reading of (the also before-mentioned) “You Do or You Don’t,” and much like Genesis’ “More Fool Me,” it’s a really nice vulnerable moment in the midst of a rather serpentine complexity.
Disc 2 of Alive at ProgStock begins with a brisk cover of “Roundabout,” which only adds to the celebratory live prog euphoria and quickens the pulse of the original. Even without the big Wakeman organ solo, this update from Robert Berry’s 3.2 manages to traverse several worm (wurm?) holes with an angular electric guitar solo that takes the tune on a fun house ride.
Just an observation: Robert Berry’s between-song dialogues are the stuff of biographies we aging rock enthusiasts crave. His recounted discussion with Steve Howe about the proper ending key of “Roundabout” in which the long-time Yes guitarist instructs us all (with prog-rock wisdom!) to stay the course with words that capture his band’s ambiguity: “As was, as is.” Elsewhere, Berry’s conversation with Keith Emerson about their “second 3 album,” adds a reverential tone to “Somebody’s Watching,” which flows with the electric lifeblood of pure ’70s prog (catch the keyboard solo at the 3:33 mark!) – and with lyrics that haunt the nice history of a masterful musician who embraced the mythology of those Three Fates, Clotho, Lachesis and sadly, in the end, Atropos.
That said, “Can’t Let Go” and “Talkin’ Bout” – despite having titles that pale in comparison to Yes’ “The Revealing Science of God” or (to get esoteric!) Egg’s weird Canterbury-smoked tune “The Song of McGillicudie the Pulsillanimous (or Don’t Worry James, Your Socks are Hanging in the Coal Cellar with Thomas)” – still manage to “Rock the Casbah” in a very proggy way.
The celebration ends with a common hymnal, which begins with (the also before-mentioned) Byrds hit “Eight Miles High” and a quick glimpse of “Fanfare for the Common Man.” And oh my! – Robert Berry’s 3.2 throw a brief wobbler with an unexpected Jimmy Keegan sung “Deck the Halls,” which is the sort of in-concert fossil-fueled blip that propels a live show into, as Pink Floyd aptly said, “a momentary lapse of reason,” and only deepens the groove as the band then slow dances with a reverential touch of “Watcher of the Skies.” Indeed, this is cool stuff!
The finale is “Karn Evil 9, 1st Impression, Part One,” a melodic punch that throbs with ritualistic electricity that buzzes and teases the ever-willing cerebral cortex — a cortex that for some lucky reason was Eden apple-ripe for guys with pocket money, a good stereo system, (for the most part) no girlfriend to call, and lovely vinyl albums “to hear” as Pink Floyd sang, “the softly spoken magic spells.” Prog rock does that sort of thing.
And there’s a Robert Berry’s 3.2 DVD. Now (true confession!), I’m an old-school guy who prefers music in audio stereophonic sound, but this one is really quite nice. The various stage projections add to the historical vibe, and the video captures the very human touch of the band in this absolute celebration of all things progressive rock.
Indeed, “As was, as is.” And this album “is, as was,” and Alive at ProgStock circles (in certain 33/3 rpm Vertigo swirl spin) to join the prog orbit with all those concept albums, side-long songs, quirky time signatures, and, of course, Pete Brown and his Piblokto! Band’s “Art School Dance” that, of course, “goes on forever.”
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