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Give your own explanation of a prog song /album

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Sacro_Porgo View Drop Down
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    Posted: April 30 2022 at 10:29
Prog is of course infamous for at least a few rather difficult to understand concepts and stories.  On top of that, other prog works not necessarily known for being conceptual are sometimes interpreted as such (think Bald Jean's / Bald Fried's explanation of Moonchild by King Crimson). So this is the thread to give your own explanation and interpretation of a particular prog work! It could be giving the background of a silly little song like Benny The Bouncer, trying to work out the meaning of some word painting lyrics like Starship Trooper, giving a full on story recap of The Lamb Lies Down On Broadway, or anything in between or beyond! Just start telling us your perspective!
Porg for short. My love of music doesn't end with prog! Feel free to discuss all sorts of music with me. Odds are I'll give it a chance if I haven't already! :)
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moshkito View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: April 30 2022 at 23:00
Hi,

This might not be easy, or seem to apply correctly as you mention since my musical learning and upbringing was not about "radio" and then "song". It was first, and foremost, classical music and opera.

I thought, and kinda still do, that the early "progressive music" was the majority of the youngsters kind of revolting against the regular "programming" in school about music, which was classical and OLD, and tired and all of it DEAD. To me the new long cuts were a flexing of the elements with the electrical materials that all orchestras lacked and refused to use, to help their material get better ... even today going to an opera feels like you are going to a classical concert 75 years ago ... very aged and out of time and place!

However, in my estimation, the kids were not as musically knowledgeable or educated to the point that they could do something beyond a "song" and many of them reverted to just one piece here and there, which really hurt my ears ... I wondered why a musician could do this, and then revert back to the song as if it was going to end up in radio .... most of which never did!

It's been said that the record companies dictated a lot of it, for sale purposes, but I always thought Woodstock busted that ... but it was only a matter of time before really well meaning and strong music, all of a sudden lost most of its feel as it became more and more commercial ... which is the main reason why I ended up moving to European music (not even English per se though ELP, Yes, Moody Blues (early stuff -- not as strong later and fake poetry in my ears!) were strong for me, but the Europeans themselves were more interesting and varied and showed some strength and purpose ... instead of a supposedly meaningful song!

I'm still into long cuts ... I guess you could say I love to trip with it! You can't trip with a formatted song ... it's too short and feels like a quickie ... fun, but in the end not satisfying for the partner! We would always want more, of course, but another song was not what I wanted!
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Frenetic Zetetic Quote  Post ReplyReply Direct Link To This Post Posted: May 01 2022 at 01:44
I just put on TFTO and let the rest sort itself out for those within hearing distance Cool.

"I am so prog, I listen to concept albums on shuffle." -KMac2021
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Psychedelic Paul Quote  Post ReplyReply Direct Link To This Post Posted: May 01 2022 at 05:09
Salamander - The Ten Commandments (1971) https://www.youtube.com/watch?v=brMbN7dnYk8&t=6s

5 stars SALAMANDER were a British Proto-Prog quartet who had a brief but bright shining moment in the prog spotlight before slipping away like eels into the swirling mists of time. They came, they saw, but failed to conquer the progosphere with their one and only album "The Ten Commandments" in 1971, which virtually disappeared without trace, until now. Inevitably, it was a concept album, when the proggy concept album was king, with each of the ten songs loosely based on The Ten Commandments, so no surprise there then. You don't HAVE to be of a religious persuasion to enjoy this pompous prog album, because it's not meant to be taken seriously, but it's been ordained by the Prog Gods on high that we need to listen to this album, so let's check it out now, before we incur the wrath of the Prog Gods with a thunderbolt from the blue. Let us pray now, and give thanks to the Prog Gods for blessing us with this awesome album from on high:- "Our Father, Who art in Prog heaven, Give us this album, and forgive us our Genesis "Trespass" album, For thine is the Kingdom of Prog, and the Power and the Glory of Prog, For ever and ever, Amen."

Holy Moses! It's time now to have a listen to the first of the solid Prog-Rock tablets of stone handed down to Moses from the biblical Holy Mount of legend. We're in suitably reverential mood for "Prelude / He Is My God", which opens to the sound of a hauntingly-atmospheric church organ at the grand altar of Progressive Rock. This tremendous cathedral-esque opening number steadily builds up into the most wonderful crypt-kicking crescendo of overblown and pompous prog in all of its grandiose majesty and holy splendour. The religiously-inspired music sounds holier than the stained glass windows in Canterbury Cathedral with a grandness that's as awe-inspiring as the gleaming white marble of the Acropolis of Athens, or an ancient Roman Amphitheatre. You really have to hear this album to believe it, because the music is so powerfully inspirational that it's enough to turn a lifelong atheist into the most devout of religious believers, but that's the power and the glory of almighty Prog-Rock. After such a grand auspicious opening, How on God's Holy Earth do you follow that!?? You follow it with "Images", a dynamic Stormbringer of thunderbolt and lightning, very very frightening Heavy Prog that hits you straight between the eyes with the unrelenting pounding and percussive energy of a steamhammer. When you're sufficiently recovered from that sonic attack, you can relax and bask in the warm glow of "People", an altogether gentler refrain that's simply beautiful. It's the kind of gloriously uplifting tune that makes you want to run out into the street and sing "Oh Happy Day" at the top of your voice, despite the strange bemused looks from passers-by. In fact, the entire album has a delightful celebratory air to it that makes you feel glad to be alive and full of the joys of spring, even in the bleak midwinter, in a snowstorm at midnight. Feel free to join in too and sing along with "God's Day", a song that's as bright and radiant as a brilliant ray of sunshine breaking through the clouds, and sounding like a religious hybrid of early Blood, Sweat & Tears, on steroids. This fine upstanding album is like musical Viagra to the ears. It's positively bursting at the seams with joy and love and passion. Side One draws gently to a close now with "Honour Thy Father and Thy Mother", a sweet message of love and devotion that leaves you feeling all warm and cuddly inside. Altogether now, "Ahh!"

Opening Side Two in dramatic style, we arrive now at the Sixth Commandment/Song in the Decalogue: "(Thou Shalt Not) Kill", a tremendously rousing and anthemic display of pompous prog in all of its magnificent glory, featuring theatrical spoken word passages (with shades of the Moody Blues), adding a solemn and sombre air to the high drama of the occasion. After all, this is a song about a heinous murder, followed by the dastardly villain being sentenced to death by hanging, so it's literally a matter of life or death, or just a matter of death, as there's no leniency to be shown or expected for the accused here. After that dark depressing tale, it's time to lighten the mood now with the wistfully nostalgic sound of "Thou Shalt Not Commit Adultery", a gorgeous Folk-Pop refrain, bringing back fond memories of The Seekers in their heyday. Salamander are Bringing on Back the Good Times again here, so it's time to put on those tie-dyed cheesecloth shirts, bright flared trousers and gold platform boots and celebrate the golden era of the early 1970's, when everything was fab and groovy. This uplifting song is positively awash with golden scintillating strings, bathing the listener in a warm radiance of brilliant Sunshine Pop. The music's so bright, you gotta wear shades, and break open a bottle of suntan lotion at the same time. Onto the Eighth Commandment/Song now with "(Thou Shalt Not) Steal", a sonorous non-stop artillery barrage of heavy Heavy Prog, with the dynamic fired-up organ player attacking his keyboards with all of the passionate fury and gusto of a whirling dervish in a sandstorm. No one's going to Steal his thunder here! And so dear friends, we come to Commandment/Song No. 9: "False Witness", a lively and energetic Jazz-Rock number with a bold and brassy attitude - very much in the style of Ginger Baker's Air Force - with the powerful singer imbuing the music with all of the emotional intensity his vocal chords can muster. He was probably in need of a throat lozenge, a stiff drink and a good lie down after that impressive performance. The Tenth Commandment decrees that thou shalt not covet thy neighbour's "Possessions", but you can certainly "covet" this sensational storming Rocker, which rounds off the album in furiously fine style.

Salamander have seared a blazing trail of God Almighty Symphonic Prog with the magnificent majesty of their marvellous ultra-rare one-off masterpiece. The Eleventh Commandment of Prog, ordained by the Prog Gods on high, should be that every self-respecting prog fan owns a copy of Salamander's "Ten Commandments". This superb album is as welcome an addition to your prog collection as being given the welcome news that you're to be employed as a stage hand by Fleetwood Mac for one night only, where your job will be to adjust Stevie Nicks' knicker gusset when she's on stage. If, on the other hand, you're lucky enough to already own a rare vinyl copy of this fine album, then that's as lucky as walking into an antiques shop to buy some trinkets and curios, and discovering the Ark of the Covenant for sale at a bargain price. Well, maybe not quite THAT lucky.

The Ten Commandments of Prog:-

1. The Prog Gods are the Lords of Prog and Thou shalt have no other Prog Gods before thee

2. Thou shalt not make unto thee any graven image of a classic Prog-Rock album cover

3. Thou shalt not take the names of the Lords of Prog in vain

4. Remember the Black Sabbath day, for the seventh day is for the Holy worship of Prog-Rock

5. Honour thy father and thy mother's Prog-Rock collection

6. Thou shalt not murder a classic Prog-Rock anthem

7. Thou shalt not commit adultery with a fellow Prog-Rock fan's husband or wife

8. Thou shalt not steal a Prog-Rock album

9. Thou shalt not bear false witness against a fellow Prog-Rock fan

10. Thou shalt not covet thy neighbour's Prog-Rock collection



Edited by Psychedelic Paul - May 01 2022 at 08:33
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moshkito View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: May 01 2022 at 07:05
Originally posted by Sacro_Porgo Sacro_Porgo wrote:

Prog is of course infamous for at least a few rather difficult to understand concepts and stories.  On top of that, other prog works not necessarily known for being conceptual are sometimes interpreted as such (think Bald Jean's / Bald Fried's explanation of Moonchild by King Crimson).
...

Hi,

With all due respect to the ladies, and their writings are very good, I am not in agreement with that specific idea of what the song is about.

The whole album is a snapshot ... of those days in London in more than one ways ... and "Moonchild" in a strange sort of way and left handed image of AC in the background, is none other than the innocent girl with flowers in her hair that gets ... dismantled by the culture and the idealism of the time. It is "the end of the innocence" ... and how it ends up. 

Read the novel, and then go listen to the song! (I think the ladies have). Taking the song away from the rest of the album and its snapshot vision of the times and place, makes this song seem off kilter and totally on its own, and it is not. I kinda think in many ways it is an attack on the "media" and that the "virgin" is the sacrifice for all to see the horrors of something or other ... except the media that created it!

It was the same thing in SF/LA when the flowers in your hair came along ... it wasn't about the flowers and the young beauty that we associate with it ... it was about the rape of all the women that were around ... regardless of anything else. It was a call to invade a place and take all the women in every way, and I still deplore that!
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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suitkees View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote suitkees Quote  Post ReplyReply Direct Link To This Post Posted: May 01 2022 at 09:50
I think Tales from Topographic Oceans is a Psychedelic Mystic Porn Prog Rock Opera, about foreplay (Ritual), Orgasms (The Revealing Science of God), Sexual Nightmares (The Remembering) and the Aftermath (The Ancient).

The razamataz is a pain in the bum
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Post Options Post Options   Thanks (0) Thanks(0)   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: May 01 2022 at 21:03
Originally posted by suitkees suitkees wrote:

I think Tales from Topographic Oceans is a Psychedelic Mystic Porn Prog Rock Opera, about foreplay (Ritual), Orgasms (The Revealing Science of God), Sexual Nightmares (The Remembering) and the Aftermath (The Ancient).

Hi,

Now ... THAT is an interpretation worthy of attention! Never thought of it that way as I always just closed my eyes and tripped along.

I thought that it was similar to some things in the Tibetan Bardo for a while, but I think your idea seems to clarify things a lot better.

No wonder RW doesn't like it ... he prefers Curry and Capes! LOL  Wink
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Saperlipopette! Quote  Post ReplyReply Direct Link To This Post Posted: May 02 2022 at 00:32
Not an explaination, but an approach. I think of early Univers Zero - their debut/1313 and Heresie in particular as illustrative modern dance choreagraphy music. Every track is full of exposition. Carabosse, the wicked dance of the wicked fairy godmother, the intense discomfort of Malaise, Docteur Petiot and Jack the Ripper - both vivid portraits of serial killers lurking the streets looking for victims. Even the more abstractly titled Ronde is full of "colorful" imagery. I make up scenes in my head with ensembles playing out their music all the time. A contemporary ballet of sorts.

I don't think I'm nessecarely original thinking about UZ this way. The ensemble themselves were obviously working very consciously bringing life to spesific ideas and storylines. But their music - which many here find ugly, abrasive and impenetrable, is so rich with interesting themes. I wish more people discovered their genius. Plain beautiful music with only pleasant melodic themes is also nice when its done well. But Univers Zero use the full palette - which also includes plenty of beauty btw.

I know Art Zoyd has made a lot of music for the stage, but not Universe Zero?
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Jacob Schoolcraft Quote  Post ReplyReply Direct Link To This Post Posted: June 08 2022 at 20:09
Originally posted by Saperlipopette! Saperlipopette! wrote:

Not an explaination, but an approach. I think of early Univers Zero - their debut/1313 and Heresie in particular as illustrative modern dance choreagraphy music. Every track is full of exposition. Carabosse, the wicked dance of the wicked fairy godmother, the intense discomfort of Malaise, Docteur Petiot and Jack the Ripper - both vivid portraits of serial killers lurking the streets looking for victims. Even the more abstractly titled Ronde is full of "colorful" imagery. I make up scenes in my head with ensembles playing out their music all the time. A contemporary ballet of sorts.

I don't think I'm nessecarely original thinking about UZ this way. The ensemble themselves were obviously working very consciously bringing life to spesific ideas and storylines. But their music - which many here find ugly, abrasive and impenetrable, is so rich with interesting themes. I wish more people discovered their genius. Plain beautiful music with only pleasant melodic themes is also nice when its done well. But Univers Zero use the full palette - which also includes plenty of beauty btw.

I know Art Zoyd has made a lot of music for the stage, but not Universe Zero?



I agree and I have thought about this in the past. Obviously they choose not to directly pursue anything tied into theater and or stage presentations. "Ronde" in particular has the perfect flow for ballet dancing in the style of Avant-garde presentation. Univers Zero simply choose not do that or maybe they haven't given it much acknowledgment...however that seems like a silly thing to say when Daniel Denis has performed live with Art Zoyd and most likely when Art Zoyd featured dancing . I believe Univers Zero have a reason for not pursuing that.

It is evident that modern chamber music possesses characteristics of composition written for theater..Regarding its themes and rhythms it proceeds to reveal that it could be music for a play. This can be observed on Le Pavillon Des Passions Humaines by Julverne.


Other composers who come to mind are John Adams and Ingram Marshall who by chance appeal to certain film directors. In which case a film director will often discover an unknown composer that specializes in that style. The film director desires a minimalist, ambient, haunting vibe throughout the film in scenes tied into dark romanticism, landscapes, and the supernatural. However the film director is steering clear of a specific theme with a reoccurring signature line that sticks like glue.


If you played a soundtrack like this at a Prog gathering several anti-soundtrack people may not realize they're listening to a soundtrack. Soundtrack music is sometimes contrived..in other cases they are interesting additions to a Prog collection.

Some people may feel like this: " If it's a soundtrack then I don't want to hear it " "I want to hear music and not something written for Hollywood "


This is obviously a preference and outspoken arrogance about film music and the problem with that is the fact that music has no boundaries. Logically the science of music doesn't and therefore the composer doesn't. That's why I can listen to Prog and hear actual sections of music that very film score oriented. Music , regardless of what category its placed in breaks the boundaries of the category. It's either subtle or in your face. In the end... great composers often create fine composition by blocking out their surroundings.

Univers Zero The Hard Quest was knocked a whole lot..but actually it was the first time Univers Zero made a quantum leap into creating soundscapes. Certain sections of it flowed with dissonance. It wasn't all over the place and that disappointed people. Ceux Du Dehors is complex music. I understand people's expectations, but Univers Zero can't force themselves to record the same kind of album time and time again. If they do ..they will squander their talents. Hard Quest is a dark album with a different vibe and it flows perfectly. Rhythmix has the same vibe . Clivages seemed to be a return to more complex composition..so in fact they did return to that..They have developed different styles of writing beginning with Hard Quest and onward.



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Post Options Post Options   Thanks (1) Thanks(1)   Quote Steve Wyzard Quote  Post ReplyReply Direct Link To This Post Posted: June 09 2022 at 16:26
SUPERTRAMP's Crime of the Century  (1974) is a concept album about the HUBRIS, or fatal flaws, of mankind. There are 8 total songs, 2 each of 4 different themes. For each of the 4 themes, Roger Hodgson offers the viewpoint of the introvert, followed by Rick Davies "answering" with the viewpoint of the extrovert on the same theme. The 4 themes are as follows:

1. PARANOIA: "School" and "Bloody Well Right" deal directly with the pressure exerted on individuals by academia, media, the political world, and even one's peers to conform to an idealized standard.

2. MENTAL ILLNESS: "Hide in your shell" and "Asylum" illustrate individuals who, having been failed by the aforementioned institutions, begin to lose their grip on reality when they have been denied love, trust, and respect.

3. SELF-DECEPTION / DISILLUSIONMENT: "Dreamer" and "Rudy" are about individuals who retreat into fantasy (sometimes of their own making, sometimes those of others) because they have nowhere else to turn to, only to be "awakened" when the fantasy doesn't last.

4. SELF-DESTRUCTION: "If everyone was listening" and "Crime of the Century" show mankind's fallen nature in the worst way - continuously making fatal choices, ignoring anyone who would sound the alarm, and looking for anyone but themselves to blame for their own foolishness.

The overall "message" seems to be that if we can begin by recognizing and admitting to our flaws, we can at least be prepared to deal with them and prevent them from stealing what is good about humanity: our capacity to love, create, and carry on beneath the shadow of death. 
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