By ProgBlog, Aug 5 2015 09:10PM
The skies over Croydon last Friday night (31/7/15) were cloud-free and, despite the light pollution from the streets, the ‘blue moon’ was really clear. I’m something of a fan of astronomy and as a youth members of the Infield Park Gang (IPG) would venture off to watch meteor showers from the vantage point of a local school playground, lying down so that the town’s sodium streetlights were obscured by the surrounding trees, or heading off to the ruins of nearby Furness Abbey, nestled in the Vale of the Deadly Nightshade where the night skies were so dark it could be quite hazardous walking up Manor Road in the direction of Yarlside; we used to frequent The New Commercial in Newton (now The Village Inn) at the top end of the derelict iron ore mine workings, a free house where the beer was excellent and the juke box contained a reasonable selection of prog and prog-lite, possibly where I first heard Wuthering Heights by Kate Bush.
The term ‘blue moon’ is a bit of a misnomer and a bit confusing. The moon reflects the sun and appears yellow-white as normal but the name, which had been documented well over 100 years before the popular definition ascribed by amateur astronomer James Hugh Pruett in 1946 was simplified to indicate the second full moon in a calendar month. The lunar cycle of 29.5 days means that Pruett’s blue moons occur seven times every 19 years; the original name derives from the Native American Algonquin, who gave names to all full moons throughout the year and introduced the Blue Moon, the fourth full moon in a single season, as a way of maintaining their lunar-calendar month alignment. So is an event described as ‘once in a blue moon’ rare? With an occurrence of once every 2.7 years they are certainly infrequent...
The moon is highly symbolic with multiple meanings and interpretations, primarily based on observations of its regular cycle; the brightness of the full moon waning to complete darkness at the new moon and waxing again to the full moon. At a very basic level the constant regular appearance, growth and subsequent disappearance can be interpreted as a symbol of life, death and rebirth. The reflectivity of the moon – the albedo (as in Albedo 0.39 by Vangelis, the reflectivity of the earth in 1976 when the album was released) – averages at 0.12 due to the changes of brightness linked to different lunar phases and gives rise to the notion of the moon as a mirror that reflects the mystery and fear within our souls.
The common association of the moon with femininity comes about because lunar cycles were thought to mirror the life of a woman, a representative of the Triple Goddess; her three incarnations of maiden, mother, and crone were matched with the lunar phases of new, full, and old so that the complete triad of goddesses is symbolised in the changing face of the moon. Another reason that the changing moon is particularly associated with women is because the regular lunar cycle closely matches the menstrual cycle. The English word month is derived from the Anglo-Saxon monath, from mona, the moon; menses is from the Latin mensis, meaning month. This once more brings to mind Kate Bush who not only injected literacy into the pop world but featured a song about menstruation, Strange Phenomena, on her debut album The Kick Inside (1978). The space rock of early Gong, most notably Camembert Electrique (1971) which features the so-called space whisper of Gilli Smyth strikes me as feminine, if we’re allowed to attach gender to music, an opinion possibly influenced by the inclusion of the track Selene - the Greek goddess of the moon; also, the influence of Gong on Steve Hillage, even after he’d left the band in December 1975 along with girlfriend Miquette Giraudy, may have been partially responsible for Lunar Musick Suite (from L, 1976.)
With the plethora of possible interpretations, the moon makes a number of appearances in the prog canon, from the straightforward interpretation of the moon landings on Brian Eno’s Apollo: Atmospheres and Soundtracks (1983), a documentary film that was originally shown without narration, simply featuring footage of the Apollo space missions with Eno’s predominantly dark ambient soundtrack, to the moon as a symbol of reflected self in Pink Floyd’s Dark Side of the Moon where every day pressures can lead to madness. Eno has indicated his album is intended to be an exploration of space travel, not some kind of adventure film soundtrack and I think the moods he successfully creates somehow tap into the idea of expanding the human experience, something that has acted as an inspiration for some of my own ambient music (Lunar Surface Magnetic Anomalies, 2013.)
Camel’s Moonmadness (1976) might not seem to be a conceptual piece of work on first hearing, certainly not in the Dark Side mould, but moon references recur throughout the album. The short first track Aristillus is named after a prominent lunar impact crater that lies in the eastern Mare Imbrium and features drummer Andy Ward reciting the names ‘Aristillus’ and ‘Autolycus’, the latter being a slightly smaller crater due south of Aristillus. The obvious moon reference is the track Lunar Sea (hence Moonmadness) which is one of my favourite instrumental tracks of all time. The alternating guitar and keyboard leads are understated and beautifully melodic, giving the track a great balance; the Moog tones evoke the ebb and flow of a cosmic ocean and Ward’s drumming is neat and crisp while Doug Ferguson’s bass bounces and bubbles. Even the heavy Another Night gets in a lunar reference: “Dark Clouds before my eyes / Can’t face the morning skies / Day comes a day too soon / I’m waiting for that silver moon” but Camel had set out to avoid a concept album in the style of Snow Goose after pressure from their record companies; if Moonmadness has a loose concept it’s that four of the tracks are said to represent the members of the band: Chord Change is Pete Bardens; Another Night is Doug Ferguson; Air Born is Andy Latimer; and Lunar Sea is Andy Ward.
Another moon link is on Mad Man Moon from Genesis’ A Trick of the Tail (1976) though I don’t think it’s really about madness or the moon, just an obsession with what others have: envy. I’ve racked my brains trying to find some link between the lyrics and the title of the song, other than in the line of the chorus, but Tony Banks sticks pretty much to drought/flood imagery. I recall Shakespeare’s Romeo and Juliet Act 2 scene 2: “Arise, fair sun, and kill the envious moon” but, despite the allusion to lost love, I suspect I’m way off the mark.
The moon represents mystery but the moon landings, coinciding with the rise of progressive rock, may have resolved some of the unknowns. This has encouraged prog to delve deeper into the cosmos.
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