On Prog Rock

prog 3   prog 2

by Jose Luis Carballo

prog 1

As a Prog-rock kid in the early and mid-70’s, I got used to this kind of abuse. Rolling Stone, Cream and all the other big rock journalists at the time hated Prog rock that includes Yes, Genesis, ELP, King Crimson and all other practitioners. The complaints were the same: It ain’t rock&roll. Well, duh. Of course not. For starters, Prog has no sexual energy. It doesn’t build a “groove.” It doesn’t funk, it doesn’t make you wanna dance. It’s not the music of rebellion, the music of throwing out the old masters and starting from zero.

prog 4

Prog had no “zeitgeist.” It wasn’t imbued with the spirit of it’s day. Prog was not the music of abandon. It’s rather cerebral. Prog is intricate, sculpted, fussy and frilly and a bit in love with itself. The composers of Selling England By The Pound, Close To the Edge, and Brain Salad Surgery knew that decades later, we’d still be discovering new melodies hidden in each Opus (they were right, we are). They knew they were writing music closer in spirit to Vivaldi than Bob Dylan, and they were OK with that.

Prog is the music created by the best musicians of their day (the early to late 1970’s), and the fact that you could name all worthwhile Prog bands on two hands – tells you how singular those players and composers were. Prog music lived in a kind of Alternate Universe, a bit disconnected with The Vietnam War and The Civil Rights Movement.

Prog is still a refuge for those of us who “get it”; we can carve out our own moment and still enjoy our brainy, pretentious music long after the 70’s had come and gone.

Love’s Mixtapes Lost: The High School Cassettes We Can’t Throw Away

tape

(via KQED Arts)

by Jennifer Maerz

I recently got the type of message that only arrives through social media: a guy named Matt in Seattle tracked me down on Facebook to let me know that he was getting rid of a car I’d sold him 10 years ago. He’d been cleaning out the silver Subaru for the last time before donating it to a women’s shelter, and he’d found nine of my old cassettes. He’d gotten in touch to send me a photo of my tapes, lined up in three rows against the blue fabric of the trunk.

Among those spooled cockroaches were mixtapes from two of my high school boyfriends, both named Greg. Just looking at their handwritten titles was like opening an old photo album I’d forgotten I’d owned. Was there ever a high school mash note as intimate as a mixtape? The Gregs and I, we’d spent hours selecting and recording music, writing out our liner notes, and drawing artwork for these pocket-sized containers of angst and lust. Now that digital playlists are easily swapped and text messages artlessly record our longings, mixtapes are the last 3-D time capsules of the love letters we awkward kids used to craft.

Read more: http://ww2.kqed.org/arts/2015/08/17/loves-mixtapes-lost-the-high-school-cassettes-we-cant-throw-away/

Hilariously Bad Wedding Dresses

bad dress 2

(via somelife)

http://www.someecards.com/life/fashion-beauty/here-come-a-whole-bunch-of-brides-in-hilariously-horrible-dresses/

bad dress

Flashback: Jimmy Page Forms Short-Lived Supergroup With Members of Yes

page chris

(via Rolling Stone)

by Andy Greene

The very early 1980s was a scary and confusing times for many rock gods of the previous decade. This new thing called MTV was turning oddball British acts like Kajagoogoo, Adam Ant, Culture Club and Haircut 100 into overnight stars, and 1970s stadium rock giants like the Who, the Eagles, Wings, Emerson, Lake and Palmer, Led Zeppelin and Yes were breaking up with stunning regularity. What do you do when you’re in your early thirties and all of a sudden your band is gone and nobody wants a 10-minute drum solo?

Read more: http://www.rollingstone.com/music/videos/flashback-jimmy-page-forms-short-lived-supergroup-with-members-of-yes-20150804#ixzz3hyKFFOF3

Elements of Great Songwriting: Fleetwood Mac and the Art of the Lyrical Coda

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The great rock artists usually have a distinguishing characteristic that sets them apart. Think Freddie Mercury’s semi-supernatural voice or Eddie Van Halen’s scale-shredding guitar, Elton’s piano or McGuinn’s Rickenbacker.

fleet album

Fleetwood Mac were always a more democratic operation in that no single member’s talents dominated their recorded performance; they seemed more concerned with playing, harmonizing and producing great music as a unit. With no less than three capable hit-producing writers–and as many lead vocalists able to put those hit songs across–they relied on no single member’s talents as a calling card.

But there was a distinguishing characteristic to this band, though it was one subtle enough that even fans may not have given it a second thought. In their heyday the thing that often set a Fleetwood Mac song apart from other radio fodder was the presence of a lyrical coda at the end of a song.

What’s a coda? The word is Italian for “tail” and that’s exactly what it is. It’s a part of a song distinct from all the parts that precede it. It usually takes the form of a repeated phrase at the song’s conclusion that has never appeared previously within the song.

Let’s call on four guys who know a little about songwriting to demonstrate…

This is the verse:

This is the chorus:

And this, which is neither verse, chorus or bridge, but rather the song’s musical and lyrical “tail”, is the coda:

And now a few Fleetwood Mac codas, all of which were taken from the Fleetwood Mac and Rumours albums. Most or all will be familiar to you, although you may not have realized just how frequently the band employed this songwriting tact:

Rhiannon:

Blue Letter:

Say You Love Me:

Second Hand News:

Don’t Stop:

The Chain:

You Make Loving Fun:

rumours

Sadly, the coda is just one more underutilized musical technique these days (along with tact, lyrical subtlety, articulation…) Seems no one’s playing pin the tail on the song anymore.

Fleetwood Mac are the go-to source for a budding songwriter to learn by example how to add a catchy tag to the end of a hit tune.

Science Suggests Bassists Are Far More Important Than Most People Realize

sting

(via Music.Mic)

by Tom Barnes

When Led Zeppelin’s bassist John Paul Jones was inducted into the Rock and Roll Hall of Fame in 1995, he made a classic bass joke. “Thank you to my friends for finally remembering my phone number,” he said, looking over at the rest of the band.

Like any good joke, there’s some truth to it: Bassists are criminally overlooked and underappreciated members of most every band. Yet there’s scientific proof that bassists are actually one of the most vital members of any band. There are powerful neurological and structural reasons why our music needs bass. It’s time we started treating bassists with the respect they deserve.

Read more: http://mic.com/articles/120137/science-suggests-bassists-are-far-more-important-than-most-people-realize

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