Tony Banks: Investing In Banks

At The Edge Of Night (from The Fugitive, Charisma, 1983)

“This was a bit underplayed on The Fugitive. I thought it was a strong song. I’m pleased with its prominence in the box set.”

I Wanna Change The Score

(from Still, Virgin, 1991)

“I never chased the hit, but a couple of times I thought I’d done it. I liked to keep some things quite simple. For A While I thought had potential. I Wanna Change The Score was another one. It was a pretty good pop song.”

An Island In The Darkness

(from Strictly Inc, Virgin, 1995)

“It was a chance to use some improvisations, and then I learned what I’d played. Add into that a lyric that talks about ambition, success and what happens when it starts to leave you; it was quite intense.”

Black Down

(from Seven: A Suite For Orchestra, Naxos, 2004)

Black Down is about five or ten miles away and I can see it from my house, and the moods you can get out of it, whether it be serene and peaceful, and threatening when the thunder comes… it relates to the English composers such as Vaughan Williams and Elgar.”


(from SIX Pieces For Orchestra, Naxos, 2012)

“Blade is very much an update of a rock song inasmuch as the violin is playing the guitar part, and on the demo I play that part on the synth. I sequenced it as it was so fast.”

Daryl Easlea

Daryl Easlea has contributed to Prog since its first edition, and has written cover features on Pink Floyd, Genesis, Kate Bush, Peter Gabriel and Gentle Giant. After 20 years in music retail, when Daryl worked full-time at Record Collector, his broad tastes and knowledge led to him being deemed a ‘generalist.’ DJ, compere, and consultant to record companies, his books explore prog, populist African-American music and pop eccentrics. Currently writing Whatever Happened To Slade?, Daryl broadcasts Easlea Like A Sunday Morning on Ship Full Of Bombs, can be seen on Channel 5 talking about pop and hosts the M Means Music podcast.