Monday, 30 January 2012

Postmodernism in Rock 5

Of course there were some bands who only narrowly missed the bedroom/basement. Queen would be one, saved only by the worlds most obvious and glorious frontman. Styxx and Rush were saved in the opposite way because they realised their audience were so lost they never left their bedrooms in the first place and never wanted to. They concentrated on buying kit. Yes decided to just do all possible variants on 'progressive' rock music in one song (Starship Trooper is an excellent example- the only Yes you will ever need) or later, spread it over dire triple concept albums which my brother still treasures and which strangely venerated Roger Dean. Kiss realised it wasn't about good taste, it was about what tasted good and especially what was good for them, well at least for two of them (Gene and Paul). What was good for the other two didn't quite work out (Peter and Ace). Meanwhile, if I remember rightly, Led Zeppelin struggled onward to produce magisterial yet somehow too brilliant to be played very often albums such as Physical Graffiti, which is why you can now buy plenty of near mint copies for c£40. You won't play them either, you might as well hang them on your wall (people were now producing actual books of album cover art, I wrote my 'O' level English Language essay on the subject). Supertramp managed against all odds to combine the sentiment of Jane Austin with rock, and mutations such as 'southern rock' can still be heard with the bass ploddingly way too high in the mix and the guitar player still practicing his scales and going on and on (Molly Hatchet worst example).
Amazing what you're thinking when you're cooking to Planet Rock.

No comments:

Post a Comment