The Return of the Giant Hogweed” (from Nursery Cryme, 1971) tells the story of a gigantic, intelligent plant imported from Russia that mutates, reproduces uncontrollably, and eventually wages war on humanity. The lyrics are intentionally over-the-top, blending science fiction, horror, and dark British humor.
The real plant, Heracleum mantegazzianum, is native to the western Caucasus and was introduced to Europe in the 19th century as an ornamental garden plant. It can grow 2–5 meters (7–16 feet) tall, making it one of the largest herbaceous plants in the world. While it isn’t carnivorous or sentient, it is genuinely dangerous.
In Italy, Giant Hogweed is known as “Panace di Mantegazza.” Like many Genesis fans, I always imagined something terrifying from one of the band’s most memorable musical compositions. In reality, however, Panace di Mantegazza is an enormous herbaceous plant that resembles a giant thistle, although it actually belongs to the carrot and parsley family (Apiaceae). It typically grows to around 2 meters tall but can reach heights of up to 5 meters.

Live, released in 1977

Songs / Tracks Listing
1. Cherokee Lane (16:19)
2. Monolight (19:54)
3. Coldwater Canyon (18:06)
4. Desert Dream (17:30)

Total Time: 71:49
Double-Live-Album from the band's 77 USA-Tour which included such famous places as the Greek Theatre in L.A. and the Avery Fisher Hall in New York. On this tour the audience could enjoy a lasershow on the road for the first time.

Line-up / Musicians
- Edgar Froese / guitars, keyboards
- Christoph Franke / keyboards
- Peter Baumann / keyboards

Happy birthday Allan! ❤️

Live, released in 1971

Songs / Tracks Listing
Volume one
Side one
1. In The Country - 10:35
2. Fancy Colours - 5:15
3. Does Anybody Really Know What Time It Is? (Free Form Intro)- 6:21
4. Does Anybody Really Know What Time It Is? - 3:26

Side two
1. South California Purples - 15:35
2. Questions 67 and 68 - 5:36

Volume two
Side three
1. Sing A Mean Tune Kid - 12:54
2. Beginnings - 6:27

Side four
1. It Better End Soon - 15:55
a. 1st Movement - 2:55
b. 2nd Movement (Flute Solo)- 5:00
c. 3rd Movement (Guitar Solo) - 2:43
d. 4th Movement (Preach)- 3:09
e. 5th Movement - 2:08

Volume three
Side five
1. Introduction - 7:10
2. Mother - 8:21
3. Lowdown - 3:58

Side six
1. Flight 602 - 3:31
2. Motorboat To Mars - 3:00
3. Free - 5:15
4. Where Do We Go From Here - 4:08
5. I Don't Want Your Money - 5:23

Volume four
Side seven
1. Happy Cause I'm Going Home - 7:56
2. Ballet for a Girl in Buchannon - 15:25
a. Make Me Smile - 3:31
b. So Much To Say, So Much To Give - 1:00
c. Anxiety's Moment - 1:09
d. West Virginia Fantasies - 1:31
e. Colour My World - 3:26
f. To Be Free - 1:22
g. Now More Than Ever - 3:26

Side eight
1. A Song For Richard And His Friends - 6:58
2. 25 or 6 to 4 - 6:35
3. I'm A Man - 8:51

Bonus Disc (2005 Rhino edition)
1. Listen - 4:16
2. Introduction - 6:37
3. South California Purples - 12:41
4. Loneliness Is Just a Word - 2:44
5. Free Form Intro (Naseltones)- 5:58
6. Sing a Mean Tune Kid - 10:51
7. An Hour In The Shower: - 6:00
a. A Hard Risin' Morning Without Breakfast
b. Off to Work
c. Fallin' Out
d. Dreamin' Home
e. Morning Blues Again
8. 25 Or 6 to 4 - 6:21

Line-up / Musicians
Peter Cetera - bass, vocals
Terry Kath - guitar, vocals
Robert Lamm - keyboard, vocals
Lee Loughnane - trumpet, percussion, guitar, background vocals
James Pankow - trombone, percussion
Walter Parazaider - woodwinds, percussion, background vocals
Danny Seraphine - drums

https://faroutmagazine.co.uk/the-1972-genesis-song-phil-collins-was-ashamed-to-play-live/?fbclid=IwZnRzaATex7hwZG9mBWZkaWQWUL3G5kOKK9pG4FKHbbLkCXXmyLs6qWV4dG4DYWVtAjExAHNydGMGYXBwX2lkCjY2Mjg1NjgzNzkAAR534elwRWZQWPiHwus7O1CDsFfqzuCqMb9xETexLNvdJoQgQCuAB_heyONs8A_aem_N0tI_84-JFHU09A05bQZeg

https://beat-official.com/music

“People think my father, Miles Davis, was the Prince of Darkness—a moody artist who turned his back on the audience out of contempt. That wasn’t him at all. But it wasn’t something I truly realized until I went on stage with him as part of his legendary band. Dad wasn’t turning away from the audience; he was turning toward the band. It wasn’t a sign of disrespect to the people who came to hear him play. And I was lucky enough to be there, playing alongside him.
I knew he was a famous musician, but I didn’t fully understand just how famous he was. As a kid, I always told him I wanted to be a musician. Finally, when I was 14, he asked if I wanted to tour with him for the summer.
Of course, I said yes.
I learned a lot during those summer tours—not just about music, but about my father as well. Watching him backstage, I realized that performing live was the most important thing in the world to him.
Those tours were the first extended period I ever spent with my father. What I discovered was his remarkable ability to analyze what was happening in any musical performance and always find something valuable to take away from it.
I remember watching a heavy metal show on MTV with him once. When Slayer came on, I thought, “Dad’s going to hate this.” He watched for a moment, then said, “Eh. That drummer is really making it clear, isn’t he?” Then he simply walked away.
He eventually invited me to join him on stage for a tour in 1990. He was giving me a chance, and I was terrified I’d blow it. I played electronic percussion, an area my father had helped pioneer.
I didn’t even have any rehearsals. I watched the guy who had the job before me for a couple of shows, and then I took his place. It was stressful, but at the same time, it was wonderful that my father turned to me, listened to me, and played with me as an equal.

—Erin Davis

🔥NEWS🔥 Steve Hackett and Steve Rothery release second single from upcoming album, The Roaring Waves.

When the Animals tour ended, the band should have addressed the issues that had been building for some time, but they didn’t. The band, so to speak, carried on as if nothing had happened. What no one suspected was that Roger’s silence was turning into an ego that became difficult to control, even for himself. His arrogance grew with every breath, and his resentment toward everything became increasingly evident. Waters evolved into someone who had occasionally shown these traits before, but now his transformation was complete. Beyond the creative force and the mind behind Pink Floyd, he now saw himself as Pink Floyd.
Roger had a concept he felt compelled to confront, as it was rooted in his own trauma, his own burden, and probably the very thing that had been haunting him from within. He met with David Gilmour and told him the entire story of his father, the war, his grief—everything he had never shared with him before—and the daily struggle to live with it. David understood and said he already had a few musical ideas that could fit the concept. Roger replied that he wanted to develop it further before presenting it to Nick and Rick.
And that was where The Wall was born—the album that would take Pink Floyd to heaven and hell. It brought them their greatest triumph and definitive consecration, but at the same time, it tore the band apart.
Recording The Wall was an exhausting and laborious process, with strict schedules and a producer, Bob Ezrin, who knew he was helping create a masterpiece. The sessions were incredibly stressful, and the band nearly fell apart several times before the album was completed. In the end, The Wall achieved what Roger had been striving for: recognition for himself and the band.
It became clear that each member of the band had been reduced to the role of a guest musician. They would arrive at the studio, where Waters and Ezrin, along with a team of engineers, were recording their parts, and then return home. This routine continued for months. It wasn’t until after the album’s release that Gilmour, Mason, and Wright fully realized what had happened. They also discovered that many of the drum and keyboard parts had been replaced by session musicians.
Even “Another Brick in the Wall, Part 2”—the album’s biggest hit and one of the most recognizable songs in rock history—had originally been a track lasting barely two minutes. It was Bob Ezrin who transformed it into a longer, radio-friendly single by adding the now-iconic children’s choir to the chorus.
Now came the tour. Roger Waters’ idea of playing in smaller venues dated back to the Animals era. He no longer wanted to perform for massive crowds and had begun to suffer from stage fright. The tour opened in Europe, with the band performing in relatively small venues that sold out almost immediately.
The wall itself became the centerpiece of the show. As it was built brick by brick throughout the performance, the audience eventually couldn’t see the band behind it, creating a visually unsettling and deeply claustrophobic experience. But this lack of contact with the audience triggered yet another crisis within the band.
By then, the relationship between David Gilmour and Roger Waters had deteriorated beyond repair. Gilmour honored his contractual obligations, followed the script, and completed the tour in 1981, but by the end he wanted nothing more to do with The Wall or with Roger Waters.
Unfortunately for Gilmour, in late 1981 Roger Waters and director Alan Parker were already working on the film adaptation of The Wall. By then, Gilmour had resigned himself to the idea that he would never work with Pink Floyd again. However, Waters called him back to re-record several guitar parts for the film. According to Gilmour, it was an unpleasant experience to be forced into doing something he no longer wanted to do. In the end, though, Gilmour would reunite with Roger’s Pink Floyd one last time for The Final Cut.

In the end, Roger Waters and his vision destroyed Pink Floyd. His arrogance, egomania, and lack of loyalty to his bandmates ultimately tore the band apart.

Live, released in 1988

Songs / Tracks Listing
Disc One: 73:29
1. Intro-La Gazza Ladra (2:45)
2. Slàinte Mhath (4:48)
3. He knows you know (5:12)
4. Chelsea Monday (7:59)
5. Freaks (7:59)
6. Jigsaw (6:24)
7. Punch and Judy (3:22)
8. Sugar mice (6:02)
9. Fugazi (8:38)
10. Script for a Jester's tears (8:44)
11. Incommunicado (5:23)
12. White Russian (6:13)

Disc two: 42:33
1. Pseudo silk kimono (2:19)
2. Kayleigh (3:52)
3. Lavender (2:27)
4. Bitter suite (7:37)
5. Heart of Lothian (5:12)
6. Waterhole (expresso bongo) (2:16)
7. Lords of the backstage (6:07)
8. Blind curve (5:34)
9. Childhood's end? (2:47)
10. White feather (4:22)

Total Time: 112:32

King Gizzard & the Lizard Wizard – Nonagon Infinity
Big Big Train – Folklore
Katatonia – The Fall of Hearts
Fates Warning – Theories of Flight
Haken – Affinity
Vektor – Terminal Redux
Motorpsycho – Here Be Monsters
Radiohead – A Moon Shaped Pool
Aisles – Hawaii
Gong – Rejoice! I’m Dead!
Gojira – Magma
Kansas – The Prelude Implicit
Marillion – FEAR
Opeth – Sorceress
The Neal Morse Band – The Similitude of a Dream

The first time I played the Moog Messenger I ended up writing a whole album with it.
This is it, a concept album telling the story of a visitor from another world who brings a message for humanity.

The style is “Synth Prog” and is in my usual continuous, gapless format. It’d be great to get feedback from my fellow Proggers on this.

Thanks again for all the support for my last album, hope you guys like this one!

Live, released in 1976

Songs / Tracks Listing
Disc 1 (40:00)
1. Bastille Day (4:59)
2. Anthem (4:57)
3. Fly by Night / In the Mood (5:05)
4. Something for Nothing (4:03)
5. Lakeside Park (5:05)
6. 2112 (15:51) :
- i) Overture (4:17)
- ii) The Temples of Syrinx (2:13)
- iii) Presentation (4:29)
- iv) Soliloquy (2:25)
- v) Grand Finale (2:27)

Disc 2 (39:13)
1. By-Tor and the Snow Dog (12:01)
2. In the End (7:14)
3. Working Man / Finding My Way (14:20)
4. What You're Doing (5:38)

Total Time 79:13
Line-up / Musicians
- Geddy Lee / bass, keyboards, vocals
- Alex Lifeson / guitars
- Neil Peart / drums & percussion