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Direct Link To This Post Posted: June 29 2010 at 04:59
I am a bit of a prog snob but i don't just bash other peoples music for know reason. If there is someone listening too the latest chart topping hit not written, sung or even heard by the pretty face on the album cover i will occasionally point it out. 

Still prog isn't the most complicated music classical music enthusiasts would look at something like Yes or Jazz Fusion and say "whats this crap, theyre just trying to be Stravinsky" etc.

So really bashing other peoples music is something everybody does i have friends who love punk who are always bashing my friends who like metal, so too break up the argument i mention prog...Every genres common enemy!
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Direct Link To This Post Posted: June 29 2010 at 07:04
Originally posted by octopus-4 octopus-4 wrote:

There's a lot of non-prog music I listen to, but one thing is conquering your audience with your music and ideas, another is making your audience by dancing videos, stereotyped rapping and TV shows for the masses. It's not prog against pop. It's pop that's often not music but a different kind of performance.

Michael Jackson, the so-called king of pop was IMO an excellent dancer a good singer and a very poor songwriter. This is not what I look for when I want to listen to music. Thriller's video works fine even with no audio. 
 
I dislike Michael Jackson's songs - but that is not the same as saying he's a poor songwriter. Far from it - he wrote songs that a lot of people enjoyed or connected with in some way. There's probably a reason beyond the videos that his albums sold in such huge quantities - even if I don't know what it is.
 
Whatever, a poor songwriter does not sell vast quantites of songs that people sing along with - to state the bleeding obvious. If you can't hum it, it's not a very good song (which is different to saying it's not good music).
 
Obviously, with popular music, a large proportion of what sells is product - and, while there are certainly some blatant attempts to polish stuff that allegedly can't be polished, another thing that sells is "attitude" or "personality", and Jackson has tons of both in everything he's ever put out.
 
Personal taste has to take a back seat here - there's no doubt that he puts across what he intends to put across, and that is a hallmark of a great artist.
 
Can't stand it myself, of course...
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Direct Link To This Post Posted: June 29 2010 at 08:12
Originally posted by sealchan sealchan wrote:

I used to have a serious superiority complex regarding the superiority of MY music (mostly prog) to other more popular pop and rock music.  Since that time I have learned much about the subjectivity of my perspective and I now only joke about MY musical tastes being superior.  My understanding of the subjectivity of my perspective is, in fact, partially theoretical and comes about through Jungian personality type theory and the popular book Please Understand Me.  To some extent I like the kind of music I like because of my personality.
 
I suppose given that in many cases the musicianship of progressive rock is better than average pop or rock, this is a natural occurrence especially if you are younger.  These days there is so little musicianship left in pop music (sampled tape loops and whatnot) that it is like apples and oranges to compare prog to rap or dance. 
 
One thing I do have to concede to pop music is that pop music does often exceed prog in two categories (can you name others?):
 
1.  Quality of vocals: better singers in pop
2.  Catchier melodies in pop, especially if producers and other non-musical professionals get involved
 
Do you agree/disagree?  Any life stories about having rehabilitated from being a prog snob?  Any justifications for being more of a prog snob? 
 
 
 
 
I agree that there is a larger percentage of Pop singers having a wider dimension in vocal range. That is how I often think of it. Pop rock, soul music, etc. Aretha Franklin technically has the most amazing vocal range based off Gospel and Blues. The only recording I have of her is "Aretha Sings The Blues". 4 of the tracks where she is backed by a jazz group playing old Chicago blues in a swing style represents her voice in a completely different fashion from the one that prevails for the pop audience. Her voice sounds like the trumpet playing of Miles Davis. I just can't see Jon Anderson matching that level.  No doubt Anderson stylistically displays a top notch vocal style that rules for many in prog, and logically ....even though Aretha Franklin has the ability to hold notes as long or longer than any opera singer, her shoe does not obviously fit prog. But as a vocalist? She surpassed Anderson's level decades ago.

There are many great vocalists who have fallen into the virus arms of the industry. It just so happens they are part of the Pop world. Like Terry Kath of Chicago. Taken seriously by Jimi Hendrix and a host of other superb guitarists....but looked down on by many to be just an average player in a pop band ,,,and for many years. By the time Chicago 8 was released, Kath was like a fine wine.....but, the band was pure pop sugar. I really wish Terry Kath had played all the guitar parts on the first 4 Billy Cobham titles.  
I am not understanding your concept on the following:..".Catchier melodies in pop, especially if producers and other non-musical professionals get involved".  It's such a debate regarding all different aspects to the experience itself. Are catchier melodies created by producers and non-musical professionals the ones that sound insulting? "Star Rockets in Flight....Afternoon Delight?  Or did the band write this on their own? There is an old trick used. Something called practices. It's when a non-musical idiot runs his hand up and down the piano searching for the perfect candy coated melody. A far cry from when Elton John wrote pop songs like "Don't Let The Sun Shine Down on Me" or "Goodbye Yellow Brick Road"....where if you listen closely, it's a bit Gary Brooker regarding the vocal style and chord structure. But what specifically is the definition of catchier? "Goodbye Yellow Brick Road" is very catchy in a unique way while "Star Rockets In Flight" is taylor made, contrived, and elementary to the world of Pop Music.

Prog was not suppose to be listened to mainly by snobs. This is a macho or muscular mentality based on a musical race to see who is the best on their instrument. That best concept is based around who is the most technical. John McLaughlin is very technical...however is style of improv is all about being a universal player. Which one of the most important aspects is to slow down ....playing a piece of music that is truly melodic that does not impress the snobs.....but in reality is more difficult to play and perform then any Al Dimeloa piece. There are too many departments taken apart in music regarding analogy and many snobs miss the point of the overall composition. All the technique applies when you study an instrument however, in the end it's all about the music that challenges the musician. The developing techniques are to bring the musician to a level of a writer.    
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Direct Link To This Post Posted: June 29 2010 at 08:33
Originally posted by TODDLER TODDLER wrote:

[
I agree that there is a larger percentage of Pop singers having a wider dimension in vocal range. That is how I often think of it. Pop rock, soul music, etc. Aretha Franklin technically has the most amazing vocal range based off Gospel and Blues. The only recording I have of her is "Aretha Sings The Blues". 4 of the tracks where she is backed by a jazz group playing old Chicago blues in a swing style represents her voice in a completely different fashion from the one that prevails for the pop audience. Her voice sounds like the trumpet playing of Miles Davis. I just can't see Jon Anderson matching that level.  No doubt Anderson stylistically displays a top notch vocal style that rules for many in prog, and logically ....even though Aretha Franklin has the ability to hold notes as long or longer than any opera singer, her shoe does not obviously fit prog. But as a vocalist? She surpassed Anderson's level decades ago.




While I broadly agree with this, prog also has Annie Haslam and Daniel Gildenlow.  Russell Allen too, though there seem to be some limits to his versatility in terms of producing a variety of expressions (limited purely to metal stylings). I don't know what specifically you referred to by range, because in terms of octave range, all three have a wider range than Aretha.  I have never understood how Jon Anderson has come to be regarded as a sort of standard for vocals in prog, but he has serious limitations, especially of expression.  Gabriel and Ian Anderson can't hit Jon's highest notes, but they can certainly sing a much wider variety of songs (regardless that I would consider Aretha a better singer than either of those too).
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Direct Link To This Post Posted: June 29 2010 at 15:25

I dislike Michael Jackson's songs - but that is not the same as saying he's a poor songwriter. Far from it - he wrote songs that a lot of people enjoyed or connected with in some way. There's probably a reason beyond the videos that his albums sold in such huge quantities - even if I don't know what it is.
 
Whatever, a poor songwriter does not sell vast quantites of songs that people sing along with - to state the bleeding obvious. If you can't hum it, it's not a very good song (which is different to saying it's not good music).
 
Obviously, with popular music, a large proportion of what sells is product - and, while there are certainly some blatant attempts to polish stuff that allegedly can't be polished, another thing that sells is "attitude" or "personality", and Jackson has tons of both in everything he's ever put out.
 
Personal taste has to take a back seat here - there's no doubt that he puts across what he intends to put across, and that is a hallmark of a great artist.
 
Can't stand it myself, of course...
[/QUOTE]

Ok, cancel Michael Jackson and replace him with Madonna, (another great dancer and performer), or choose one between The Blue, Britney Spears, Christina Aguilera or stuff like this. An exception is Shakira who, before going into commercial made some good pop-rock with interesting lyrics.

What I mean is that in general there's few musical quality in products created to be consued and forgotten after few months. That's probably the reason why there are no pop songs 30 minutes long. There's no sense in spending a lot of effort for something that will remain in your mind less time than its duration.

It's not that people shouldn't have fun. If one likes sweating in a disco with techno or house pumped at high volume, free to do it. But please don't compare what comes from gonads with what comes from heart or brain. 

Finally, about MJ's songwriting, isn't Smooth Criminal poor enough, just as example?
 
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Direct Link To This Post Posted: June 29 2010 at 15:26
Poor songwriter compared to ROger Waters, Christian Vander or Neal Morse...
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Direct Link To This Post Posted: June 29 2010 at 21:44
What's wrong with Smooth Criminal compared to the boring corporate glam rock/metal of the time or that so called 'bada**' rockstar AXL Rose?  Michael Jackson was a lot, lot livelier than any of them, as Cert1fied said, had personality and attitude, no wonder he was so successful.  That album (Bad) has some tasty rhythm guitar which would sound a lot better if it hadn't been so overproduced. 

Coming to your examples, I cannot say from my limited experience with Waters solo that I would really want to listen to him rather than MJ.  I would know Waters intended to make the music he felt like and not what he thought would succeed, but that does not by itself make appreciation easy for me, I still have to like it. Wink

  I have never heard Morse's solo work but I would certainly take MJ over Spock's Beard Genesis/Kansas wannabe bore.  I can't confuse Michael Jackson with somebody else before his time in his epoch, being pop/disco, see...so much then for being plastic and artificial!   

Coming to Vander, yes, I would definitely prefer Magma by miles and miles.  However, the question of what the audience expects from the music now needs to be answered.  Is complexity the only end of music and because Magma is complex and innovative, is it objectively better?  This is not such a straightforward thing...a lot of people listen to music for the emotions.  They would likely find MJ more emotionally interesting and Magma as something cold and abstract.  Michael Jackson was not trying to write Zeuhl, just disco-funk and he would have wanted the songs to be accessible and memorable to a large audience. It may not be either to you, but it has been to millions of buyers of his albums so he achieved the purpose he was likely going for in his albums.  It cannot then be said that he was a poor songwriter just because he wrote pop songs that you don't like. For that, the appropriate base of evaluating the songwriting skill would have to be established first. 



Edited by rogerthat - June 29 2010 at 22:19
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Direct Link To This Post Posted: June 29 2010 at 22:08
I like Michael Jackson, I probably like Sun Ra, Miles Davis or Robert Fripp more, but 'Off the Wall' is an incredible record. Also, in it's context, it was light years ahead of other music in its genre. No one could come close to duplicating it, no one even tried.

Michael, and producer Quincey Jones who did some great acid jazz soundtracks in the early 70s, brought in a slight Latin jazz feel for 'Off the Wall', no one else knew how to do that. Plus the melodies and arrangements are the best.

Edited by Easy Money - June 29 2010 at 22:11
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Direct Link To This Post Posted: June 29 2010 at 22:24
I love Don't Stop Till You Get Enough. Clap  Also, Working Day and Night.

Edited by rogerthat - June 29 2010 at 22:25
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Direct Link To This Post Posted: June 29 2010 at 22:28
Don't Stop Till You Get Enough has the best string riff ever.
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Direct Link To This Post Posted: June 29 2010 at 23:58
I didn't want to start a forum about Michael Jackson. This one is about arrogance. I mentioned MJ because I think he (and most of the mainstream artists of the 80s) as the nemesis of what I search in music. 
And in order to be arrogant and make this post harder and harder, I include U2 and Sting solo works in my black list: two example of non-dancing  artists. And what about Phil Collins?

During the 80s I loved Marillion (not  complex as Magma) and I was into the Blues (less complex than everything else). I went into new age, thanks to Kitaro, Yanni and Vangelis. I didn't have any need to consume MTV stuff.  One exception was Cindy Lauper. She was something different.

I've been at a MJ live performance in 1990 (more or less). It was like watching a long video. Cold and distant. One of the most boring live performances I've ever seen.  


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Direct Link To This Post Posted: June 30 2010 at 01:03
Joshua Tree is a good album. ConfusedLOL  That you see Yanni as being more elevated in musical purpose than MJ or U2 speaks volumes about that your line of argument is treading on thin ice.
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Direct Link To This Post Posted: June 30 2010 at 01:10
I'm provoking Tongue.  Wasn't this post about arrogance?
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Direct Link To This Post Posted: June 30 2010 at 01:13
It is indeed 'in vain' if you proudly proclaim your dislike of certain artists and then mention being into Yanni.  By the way, the shadow of Thriller hangs over parts of Fugazi. Wink
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Direct Link To This Post Posted: June 30 2010 at 01:22
Effectively I've been into Yanni for a short period (a journey to Crete). Eddie Van Halen's solo on Beat It, or was it Bad? is a great piece of heavy metal. Too few to make me like MJ.

Joshua Tree is a good album, also Face Value is good Wink.

What I mean is that I hated the 80s and almost everything they brought. I hated the video-music that was more video than music. I hated the media driven celebration of some artists. I hated how they tried to change the people's tastes to what the majors were trying to sell. Of course there was also something good sometimes. But the 80s made me arrogant. 

Last,. I was into Marillion but I have rated "Script" with two stars only.
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Direct Link To This Post Posted: June 30 2010 at 01:31
Your points about video music being more video than music and many others about the 80s are valid...I don't like what they brought to the music scene in general, either.  However, you just managed to choose poor examples.  Some people may have liked Michael Jackson more for the videos and the dance but this does not mean that there necessarily was no music to appreciate without the video.  I don't need the videos for instance...I heard hardened funk, you hear an overhyped artist and are looking for guitar solos in the wrong place, it's all about your prism. Wink  Anyway, while the 80s made things rather desperate in the mainstream, it is in general hard to get the public to like music solely for the sake of music.  In the 60s and 70s, it was attitude, anti social image, message, blah blah.  The compositional skills have always been somewhere at the bottom of the food chain, so ultimately, it's not a big issue either way. Wink< id="WebWizRTE" ="http://www.progarchives.com/forum/RTE_.asp?mode=reply&POID=0&ID=178" style="border: 1px solid rgb165, 172, 178;" ="initialiseWebWizRTE;" ="20" width="600" height="250">
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Direct Link To This Post Posted: June 30 2010 at 01:41
I like Men Without Hats. So there.
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Direct Link To This Post Posted: June 30 2010 at 06:37
Originally posted by octopus-4 octopus-4 wrote:


Ok, cancel Michael Jackson and replace him with Madonna, (another great dancer and performer), or choose one between The Blue, Britney Spears, Christina Aguilera or stuff like this. An exception is Shakira who, before going into commercial made some good pop-rock with interesting lyrics.
 
 
I cannot say anything about The Blue, having never heard them, but Britney Spears isn't a songwriter - she has, however, hired some superlative songwriters who have written original, dynamic and contemporary material that she has turned into products that have sold extremely well. In this, she is much like Elvis Presley, who was ultimately nothing but a totem for the behind-the-scenes talents who wrote, arranged, performed, mixed and marketed the music.
 
Also like Elvis, Britney appears to have a personality that attracts a large number of people - and many of the songs are catchy, so she clearly has other talents beside being (allegedly) trailer park trash.
 
Madonna is a songwriter, however, and so is Aguilera. Madonna has written many songs which became anthems of a generation (you don't have to like anthems, of course). Her work with William Orbit on Ray of Light was superlative, IMHO - great, progressive songwriting. Can't see anything wrong with Madonna, except (RoL apart), not my cup of tea really. Aguilera has also written and performed some cutting edge material, and I rate her much higher than Shakira, who strikes me as a bit of an anonymous totem. I could be wrong.
 
 
Originally posted by octopus-4 octopus-4 wrote:


What I mean is that in general there's few musical quality in products created to be consued and forgotten after few months. That's probably the reason why there are no pop songs 30 minutes long. There's no sense in spending a lot of effort for something that will remain in your mind less time than its duration.
 
 
Like much of The Beatles, The Rolling Stones and The Who, you mean?
 
Originally posted by octopus-4 octopus-4 wrote:


It's not that people shouldn't have fun. If one likes sweating in a disco with techno or house pumped at high volume, free to do it. But please don't compare what comes from gonads with what comes from heart or brain. 
 
Don't be so black and white about it - there is much "intelligent" disco music as well as instinctive Prog, and disco is more closely aligned to Soul than Prog, so the question of which has more heart should logically go to disco. Sorry.
 
 
Originally posted by octopus-4 octopus-4 wrote:


Finally, about MJ's songwriting, isn't Smooth Criminal poor enough, just as example?
 
 
You not liking it doesn't make it poor.
 
 
Originally posted by octopus-4 octopus-4 wrote:

Poor songwriter compared to ROger Waters, Christian Vander or Neal Morse...
 
...all of whom have written some terrible drivel (arguably Vanders apart) as well as inspirational material.
 
However, we come back to the question of what is "poor". Surely a poor songwriter would sell less music than a great one? QED.
 
Originally posted by octopus-4 octopus-4 wrote:

I didn't want to start a forum about Michael Jackson. This one is about arrogance. I mentioned MJ because I think he (and most of the mainstream artists of the 80s) as the nemesis of what I search in music. 
 
Keep your friends close and your enemies closer, ie, never underestimate the nemesis!
 
 
Originally posted by octopus-4 octopus-4 wrote:

 
And in order to be arrogant and make this post harder and harder, I include U2 and Sting solo works in my black list: two example of non-dancing  artists. And what about Phil Collins?
 
 
What about them?
 
All have sold gazillions of units - on that basis, they're all great songwriters, not poor.
 

 
Originally posted by octopus-4 octopus-4 wrote:

 
I've been at a MJ live performance in 1990 (more or less). It was like watching a long video. Cold and distant. One of the most boring live performances I've ever seen.  
 
 
Sadly, I could say exactly the same about Muse when I saw them at Wembley last year. I might just as well have stayed at home and listened to the CD - there was no inspiration in the performance. As for the visuals, per-lease! I've seen acrobats in balloons before, and light-up satellite dishes don't impress me.
 
They were much better at Glastonbury in 2001, when frankly, they were the best act on the planet bar none.
 
Originally posted by octopus-4 octopus-4 wrote:


Joshua Tree is a good album, also Face Value is good Wink.
 
 
Interesting, given that you gave U2 and Phil Collins a bad rep above. Personally I can't stand U", and Joshua Tree is one of the worst albums I've ever heard - but what do I know?
 
 
Originally posted by octopus-4 octopus-4 wrote:

What I mean is that I hated the 80s and almost everything they brought.
 
Kraftwerk were pretty good, and so were Metallica in the 1980s. Then there's Iron Maiden, who only made it big in the 1980s, and other metal acts who had been relatively underground before then - Judas Priest, Motorhead and AC/DC, for example. OK, I know AC/DC were pretty big in the 1970s, but that was as nothing compared to the following they had after Bon Scott died and they released "Back in Black".
 
BiB, Ace of Spades, Number of the Beast, Heaven and Hell, Holy Diver, Bark at the Moon - all reasons to love the 1980s, let alone Master of Puppets, Reign in Blood and the rest - you had the whole NWoBHM movement, whicih was chock full of great music, and thrash to follow it all up with. It was an amazing time to be a fan of metal.
 
I was fortunate in being open-minded - I also liked Duran Duran, Spandau Ballet and ABC, and many of the electronica groups, like Numan, Human League, Visage, Japan, Ultravox, Cabaret Voltaire - the list goes on of innovative musicians from that time. I also dug rave music before it became commercialised in the 1990s - there was some amazing stuff out there.
 
 
Originally posted by octopus-4 octopus-4 wrote:

I hated the video-music that was more video than music.
 
It's all part of the package - and artists have always tried to package themselves. Especially that particular sort of artist that decides he/she isn't going to be all commerical and stuff - that IS their image/package!
 
Originally posted by octopus-4 octopus-4 wrote:

 I hated the media driven celebration of some artists. I hated how they tried to change the people's tastes to what the majors were trying to sell. Of course there was also something good sometimes. But the 80s made me arrogant. 
 
That wasn't the 1980s - that was the media since it began. Think about the payola scandals in the 1950s, Colnel Parker's aggressive selling of Presley, Epstein's of the fab 4 - you HAD to do that to stand out and sell yourself, otherwise you were sleeping on your buddies' floors until you gave up music and got a proper day job.
 
 
Originally posted by octopus-4 octopus-4 wrote:


Last,. I was into Marillion but I have rated "Script" with two stars only.
 
That's not arrogant, that's just not recognising a true masterpiece when you hear it.
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Direct Link To This Post Posted: June 30 2010 at 07:34
Hey, too much things to reply to. Let's try a quick reply...

The Blue... I've been at one of their last performances before they disbanded. They made me the same effect of MJ. Good singers, excellent dancers (maybe, I don't have the skill to comment their dancing) but watching them on TV is exactly the same.

I don't watch to videos, and I can't say if Britney has a personality or not. This is not my pot and I don't care if she writes or performs only. The meaning of my first reply was only that I am arrogant about music with a meaning and music just for fun or dancing. It's the same when we speak of early Clannad or Dubliners. I like the first, less the second.

The Beatles have a concept album like Abbey Road, the Who have Tommy. Not only 3 minutes songs. In the 60s the duration of a song was limited by the size of a single 45rpm. Speaking of song's length has few sense before the 70s.

Black and White you are right. I'm not so black and white. That's why I say that Face Value is a good album, unfortunately the only decent thing done by Phil Collins out of Genesis (IMO).

80s wasn't so black and white as well. I can't stand with Duran or Spandau, but I liked and I still like many of the artists mentioned by you. In particular Ultravox, Japan and Human League. If I'm not wrong Japan were feauring David Sylvian...

About Script, my rating wasn't an example of arrogance. Was just to say that being into an artist doesn't mean appreciate everything they do without conditions. I like that album but I can't say it's an absolute masterpiece. It contains one of the better songs ever written by them, Forgotten Sons, but Chelsea Monday, the title track and The Web are everything but masterpieces (my personal opinion).

The influence of media? Also Woody Guthrie was helped by a radio to sell his first songs. The problem is when ALL the media work in a single direction. My beloved rock dynosaurus suddenly disappeared from radios and TVs to make room to dubbed dancers. Do you remember Milli Vanilli or Den Harrow? 

Why the 80s sound was so standardized? Why artists like Camel and Rick Wright tried to modify their sound by using the fairlight? 

About the package, you can buy it or not. I'm so arrogant to say "no please, keep this stuff away from me".
This is the only meaning of my first reply. I want music and I like to concentrate my attention on what I'm listening to. I think this is what most of the proggers do. 

And I'm not shy to say that Yanni's Reflection of Passion is a great album. 
I mentioned Yanni,Kitaro and Vangelis because they are borderline with prog...well, maybe not Yanni, but try Kitaro's Dream and let me know what you think. 
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Direct Link To This Post Posted: July 01 2010 at 02:51
Originally posted by octopus-4 octopus-4 wrote:


The meaning of my first reply was only that I am arrogant about music with a meaning and music just for fun or dancing.
 
I don't understand why this should be - there is some great intelligent dance music (IDM) - Autechre, for example, and not all music for dancing is just for dancing. Chicane and System 7 are great examples, as are The Orb.
 
Besides, I've always held that a large part of music is fun, even if I don't always want to dance to it. ELP were quite fun, and both The Who and the Beatles wrote music you could dance to, which displayed their senses of humour to the max.
 
There's meaning in just about all music.
 
Originally posted by octopus-4 octopus-4 wrote:

 
The Beatles have a concept album like Abbey Road, the Who have Tommy. Not only 3 minutes songs. In the 60s the duration of a song was limited by the size of a single 45rpm. Speaking of song's length has few sense before the 70s.
 
Not really - they had 33 RPM long players then too, don't forget, and The Who wrote their mini Rock Opera "A Quick One While He's Away" in 1965, IIRC.
 
The point about the Beatles, etc., is simply that they wrote sub-3 minute songs which are classic examples of superlative and timeless songwriting - there are other great examples, like Simon and Garfunkel, who wrote primarily short songs which were not just "for the moment", but have a quality that seems as eternal as anything written by a Classical composer.
 
Length does not equate to good or better - I've heard some pretty pointless, rambling nonsense that really shouldn't have ever wasted 20 minutes of perfectly good vinyl.
 
 
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Originally posted by octopus-4 octopus-4 wrote:


About Script, my rating wasn't an example of arrogance. Was just to say that being into an artist doesn't mean appreciate everything they do without conditions. I like that album but I can't say it's an absolute masterpiece.
 
I didn't say it was an example of arrogance, merely one of almost complete unappreciation.
 
I can easily say, without feeling the remotest bit arrogant, that it's an absolute masterpiece - check out my review.
 
Originally posted by octopus-4 octopus-4 wrote:

It contains one of the better songs ever written by them, Forgotten Sons, but Chelsea Monday, the title track and The Web are everything but masterpieces (my personal opinion).
 
The title track is one of the best pieces of music ever written, IMHO, and both Chelsea Monday and The Web are incredibly beautiful pieces, not to mention great examples of very strong songwriting and superlative arrangement.
 
Originally posted by octopus-4 octopus-4 wrote:


Why the 80s sound was so standardized? Why artists like Camel and Rick Wright tried to modify their sound by using the fairlight? 
 
 
You pick certain examples to back up your generalisation about some mythical standard 1980s sound.
 
Metallica did not have a standard 1980s sound, and neither did Gary Numan. Cabaret Voltaire, The Specials or Dexy's Midnight Runners. All sound totally different.
 
Camel obviously wanted to carry on selling records, and took their cues from Genesis - Stationary Traveller is a great album, showing a band with strong songwriting skills that were moving with the times, even if that meant awful hairstyles and Fairlights. In contrast, I thought Nude was a boring album.
 
You may as well ask why the 1960s or 1970s - or 1990s and 2000s sounds are so standardised, if you think about it. While the music is varied, there's a particular commonality in the sound that enables you to date music fairly accurately to the decade on a single hearing.
 
It's simply a case of engineers making a recording/product that they hope will sell in a given climate. And often, if you dig around, you find that the sound wasn't as standardised as you initially thought.

Originally posted by octopus-4 octopus-4 wrote:

I want music and I like to concentrate my attention on what I'm listening to. I think this is what most of the proggers do. 
 
I cannot help but concentrate my attention on what I'm listening to - this is the result of spending too much time in music lectures and not enough time in the student union bar...
 
Originally posted by octopus-4 octopus-4 wrote:

And I'm not shy to say that Yanni's Reflection of Passion is a great album. 
I mentioned Yanni,Kitaro and Vangelis because they are borderline with prog...well, maybe not Yanni, but try Kitaro's Dream and let me know what you think. 
 
Vangelis bores the pants off me - I might try those other artists, but I'm not really looking for new music at the moment. I'm massively involved with researching every NWoBHM demo ever released, and anything that doesn't have a Marshall chug in it is not what I want to listen to right now (I'd guess that when I've finished my research, I might be sick of the sound of a JCM 800, but right now, I doubt it. I've even bought one!).


Edited by Certif1ed - July 01 2010 at 02:54
The important thing is not to stop questioning.
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