Formed in 2012, The Prog Collective purports to be the world’s biggest prog rock supergroup. The idea of “supergroup” suggests musicians taking a permanent role; for this band, the reality is somewhat different. Yes, there are a lot of different musicians involved, but many of the famous faces signed up for the Collective only ever play on one or two tracks each. In that respect, as has previously been pointed out, this is just another vehicle for the multi-talented Billy Sherwood to present material that doesn’t necessarily fit his day job as Yes bassist/arranger. That isn’t necessarily a bad thing, of course – the likelihood of Steve Hillage, Richard Page and Dweezil Zappa ever being invited to a Yes recording session is less than zero, so Sherwood’s extra-curricular project is more than valid.
An impressive side project for Yes men Billy Sherwood (bass/vocals) and Jon Davison (vocals), Arc of Life formed during the pandemic lockdown of 2020. Using the new band as a vehicle to combine strong melodic structures with some classic prog expansiveness on occasion, the band would quickly make an impression among Sherwood’s many fans. With the presence of Pink Floyd obsessive Dave Kerzner on keys, Sherwood’s old World Trade mate Jay Schellen on drums and his Circa colleague Jimmy Haun on guitar, the band would quickly take on the mantle of “old friends together”, but for lovers of melodic prog rock, their self titled debut LP (released in February 2021) presented a great blend of musicianship and song-based ideas.
Although often billed as the world’s biggest prog rock supergroup, The Prog Collective is actually more of a revolving gang of musicians. Working with an incredibly fluid line up, it’s merely an umbrella name that allows multi-instrumentalist Billy Sherwood to call on various friends according to their appropriate talents. If this sounds like a similar set up to one of Sherwood’s many tribute albums, it’s with very good reason. The Prog Collective’s main difference – at least on their first two albums – came from the idea that the gathering of talent would record original material. It’s also clear that Sherwood believed, perhaps correctly, that the mystique of a “prog supergroup” would attract more listeners than one of his many solo projects.
In 2021, Real Gone celebrated its twelfth year online. It’s hard to believe we’ve endured for so long, but that’s down to you – our enthusiastic and still growing audience – coming back every week to explore the more “cult” aspects of a new release schedule as well as continuing to enjoy our occasional dips back into music’s past.
Having long established a house style, our approach remained the same as the past few years: the site has mixed in depth pieces on new albums with occasional “archive pieces”, full length videos, and other bits of musical news and streams. That’s got us through another tricky twelve month stretch. That makes it sound like a prison sentence, but even with the ongoing pandemic hovering over all of us, it’s been far from bad.
All star prog tributes are hardly a new phenomenon. Robert Berry and Yes man Billy Sherwood have been contributing to such releases since the 90s and it’s often resulted in records made with love. Occasionally, they’ve included a few tracks that’ve become essential collection fillers. There’s a Pink Floyd tribute from the 90s called ‘The Moon Revisited’ that brings together a host of famous faces recreating the monolithic ‘Dark Side of The Moon’ from start to finish. Naturally, the record isn’t as good as the original – nobody ever claimed it would be – but a run of tracks during the second half make it a keeper. World Trade’s take on the instrumental ‘Any Colour You Like’ and Robert Berry’s ‘Brain Damage’, especially, showcase veteran talents able to turn their hands to almost anything with ease.