This week, Tim did a monologue about H to He Who Am The Only One, by Van der Graaf Generator. Topics covered include: whether VdGG are really heavy metal without guitars, whether H to He can be considered a pop album, the extent to which the album precipitates the band’s later work, and how the dialectic between voice and sax works in the band. Also, how did VdGG influence Iron Maiden? Do the wind parts represent the Freudian drives? Is the ‘hit’ song Killer a comic or a tragic piece? Is there a schizoid element in the band’s work? And can fishes fly? Or would that constitute a black swan?

This week Tim, Peter and Shaun discussed their favourite albums from “the summer of love”, 1967. Topics covered include: whether ’67 was the beginning of the postmodern period, what relation the period had to subsequent developments in music, what influence folk, blues and jazz had on the period, and whether the period was predominantly optimistic or pessimistic. Also, couldn’t “the highest paid act in America” get someone to tune their guitars? Which band hated each other the most? What did Steve Jobs actually invent? Should we have chosen a different year to discuss? And most importantly of all, who will be number one?

In this week’s episode, Shaun and Tim discussed their top ten favourite Genesis outtakes. Topics covered include: the difference between outtakes from the classic and contemporary periods of the band, why Genesis didn’t write psychedelic pieces, how the Banks-Rutherford dialectic affected the sound of the band, and the influence of Phil Collins’ love life on the lyrics. Also, why did Steve Hackett keep getting quieter? What’s the essence of Stoic philosophy? Should some of the single albums have been doubles? Should some of the double albums have been singles? And was Mick Barnard the secret genius behind Genesis?

This week Tim did a monologue about the sixth studio album by Gentle Giant, The Power And The Glory. Topics covered include: whether the band had read Graham Greene, George Orwell or Thomas Hobbes; the extent to which the lyrics are reflected in the music and vice versa; the unique style and sound of Gentle Giant; and whether the album should be considered political or anti-political. Also, should the ending of the album actually have gone at the beginning? Was Cogs In Cogs influenced by Charlie Chaplin? Did the album lead to the demise of Nicolae Ceaușescu? Was Watergate really that big a deal? And crucially, how did Hegel distinguish good infinity from bad infinity?

This week, Tim and Shaun had a chat about the tenth studio album by Yes, Drama. Topics covered included: the relative success of this rock-new wave mash-up; what the nature of the Yes-Horn/Downes collaboration was; whether the cover of the album was based on the songs; and whether this line-up should have made another album. Also, would the album have been better if Chris Squire had sung it? What were Jon Anderson and Rick Wakeman drinking when they decided to leave the group? What is it like to go on your honeymoon with Steve Howe? Is Trevor Horn actually a camera? Should Man In A White Car actually have been called Newman In A White Car? And what did Eddy Offord do to that pigeon?

This week Tim did a monologue on the first album by Planxty. Topics covered include: whether Planxty are really the greatest Irish band of all time, whether prog fans would like this album, the mythological nature of the group’s songs, the carefully programmed nature of the album, and the connection between Planxty and the band Kneecap. Also, how did the band Elbow get their name? How do you make an English person feel Irish? Was the Jolly Beggar really a beggar or not? And did Christy Moore invent rap music on The Raggle-Taggle Gypsy?

This week, Tim and Peter did an album-off, between Tommy and Quadrophenia by The Who. Topics covered include: whether both albums deserve to be doubles, in what sense Quadrophenia is a response to Tommy, how important Kit Lambert’s influence was, how each album deals with the question of sexual identity, and whether Underture is too long or not. Also, what would Freud have thought of the band? Which is the most offensive line on the two albums? Was Tommy actually finished or not? Are mods male or female? And which is better, Keith Moon’s drumming or his screaming?

This week, Shaun and Tim ranked their top ten favourite progressive rock albums. Which of your favourite bands will be in there? And how will they be represented? Find out in this bumper episode!

This week Peter did a monologue about the second album by The Incredible String Band, The 5000 Spirits Or The Layers Of The Onion. Topics covered include: the String Band’s unusual harmonic sense, the Eastern influence on their music, their importance to the 60s music scene in the U.K., why the band weren’t better known and the uniqueness of the Edinburgh folk scene. Also, who was the best sitar player in the 60s? Why don’t the band do any middle eights? What are the politics of turning an album over? And is you is or is you ain’t on board?

This week Tim did a monologue on Five Bridges by The Nice. Topics covered include: whether Five Bridges is the first stage in the development of the progressive rock "paradigm"; where the album stands in the band’s catalogue; how The Nice compares to ELP; and whether the dialectic between band and orchestra is successful. Also, why don’t bands get Arts Council grants any more? What does the band have to do with the philosophy of science? Was the introduction influenced by tantric sex? Was Lee Jackson a Maoist? How do you say “ars” without causing offence? And most importantly of all, what does Stumpy say?