Why wouldn't Quadrophenia be considered prog?Originally Posted by SteveSly
Why wouldn't Quadrophenia be considered prog?
Actually……I do consider “Quadrophenia” to be at least somewhat prog. “American Idiot” not as much, but there are similarities between the two albums IMO.
I've always considered both to be solidly in the "rock opera" vein, and not progressive rock. Though if comparisons on that front must be made, American Idiot is simpler musically than Quadrophenia. There are a few songs I find catchy, but taken in sum it all blurs into a monochromatic, sound-a-like block. Compared to Quadrophenia, it sounds like a demo.
Not the most original thing in the world, either - the second track manages to approximate Moonage Daydream, All the Young Dudes *and* Summer of 69, though I guess it is listed as a medley...
And I can't say that I like how it was turned into a Broadway show - rock music that can easily be neutered into a show tune is a bit suspect, IMO.
I saw Stevie Ray in November 89, when he toured with Jeff Beck. I can assure he most definitely belongs in the R&R HOF.
Paul Butterfied isn't already in? Wow. I'm surprised SRV isn't in either. It's obvious they are courting a younger demographic. The R&R HOF is trying to be everything to everyone and they are failing miserably. The Country Music Hall of Fame doesn't play that game. They aren't inducting The Rolling Stones for having an impact on country music, which they surely have. They stick to country. The R & R HOF needs a name change to the Music HOF or the Popular Music HOF. The R & R HOF needs to be rock. In all of it's many forms including the influences. When I think Hall of Fame, I don't think Green Day or Nine Inch Nails. In 25 more years, maybe. If they end up with the legacy of a Chuck Berry or the Stones or Deep Purple or Yes then of course they should be included. The are only on the list because they still appeal to a younger crowd. My daughter is 19 and loves Green Day. Wenner and his crowd is looking to this younger demographic now.
Bill
She'll be standing on the bar soon
With a fish head and a harpoon
and a fake beard plastered on her brow.
The problem I have with acts like Green Day being inducted is, what's the rush, rather than anger at nominating them full stop. They've left so many earlier bands out in the cold and it seems as soon as Green Day are eligible they get nominated. The chronology and logic is all over the place.
If they are looking to a 'younger demographic', well, this younger rock fan isn't stupid and doesn't like being patronized. Some of us know the history of rock all too well and don't take kindly to attempts to rewrite it. Yes and Deep Purple were huge concert draws/album sellers and their influence is clear....including on bands already there.
If the HOF gets King Crimson, Captain Beefheart, Can and the Mahavishnu Orchestra in next year I'll start being fooled into thinking Jan Wenner and Co. have a ^%$#!!! clue. Way too often it's just been a celebration of who sold the most records or who an elite but poorly informed group of voters checked off.
Based on what, talent? If talent was the qualifier, then players like Johnny Winter, who could play circles around SRV, would have been in a looooong time ago.
Don't worry, folks, I'm not bashing SRV. I just think his main contribution was in helping to popularize blues in the 80s and little else. Yes, he was popular and deserves kudos for that. But, he broke no ground, was not much of a writer, and there were dozens of better contemporary players at the time. JW's work at the same time, IMO, blows away what he was doing. And nobody can question Johnny's influence on many current inductees.
But, I'm not trying to start a JW-SRV debate.
That is part of the real problem here. By focusing on newer bands so quickly, it makes it even that much more difficult for the older bands to be recognized.
Luckily, I don't give two shits about the R&R HOF and find this more comical than anything.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
it's a joke that non rock artists are getting into the ROCK & ROLL hall of fame.
Now THAT'S sig worthy! Can I use it?
The first time I saw SRV he was opening for Robert Pant. I had no clue who he was, but he came out and blew that arena out of the water. The guy was simply amazing. True, he did not really break any new ground (although it could be argued that he resurrected Bowie’s career), but the man was one hell of a performer.
I didn't realize Bowie's career needed "resurrecting". I kinda had the impression all of his records, even the "difficult" Berlin trilogy, were doing good business, as did the respective tours and singles. Or is this another one of those "Just because it got played on MTV doesn't mean it was a big hit" things?
At any rate, if anyone can be credited with resurrecting Bowie's career with Let's Dance, it would Nile Rodgers, who produced the album. As far as that goes, I think it's Bowie who could be credited jump starting Stevie Ray's career, by having him play on Let's Dance and the Serious Moonlight tour (or at least he would have played on that tour, if he hadn't gotten cold feet and engineered a stunt that got him unilaterally fired by Bowie's tour manager).
Whats the actual criteria? or is their one! Whether or not you like them , based on longevity , record sales and live venue filling, The Moody Blues are a huge ommission in my opinion. I would definitely say "Yes" are too .
The procedure should do decades incrementally, starting with the 50s. There should be genre divisions, dance rock, blues rock, southern rock, folk rock, prog and art rock, hard rock, punk rock and new wave.
Ok, maybe resurrected was not the best choice of words, but the “Let’s Dance” album took Bowie into the stratosphere from a sales and popularity standpoint, and SRV at least a part of that. Bowie went from a large theater / arena act to selling out football stadiums over the course of the Serious Moonlight and especially Glass Spider tours. He got to a place very few artists get to.
Although there are other Bowie albums that I personally prefer, “Let’s Dance” is a brilliant pop album and part of what makes it as good as it is was SRV’s playing on it. True Nile Rodgers also played a huge part as well.
The remainder? Meh...
Last edited by mogrooves; 10-11-2014 at 02:21 PM.
Hell, they ain't even old-timey ! - Homer Stokes
Yeah, you're correct there. The funny thing is, I think Bowie said that was the only time when he seriously considered "giving up", because he was just unhappy with the direction his 80's era records went in. Maybe not so much Let's Dance (which I agree has a lot of really cool songs on it, and you can't deny that Nile's China Girl riff isn't one of the greatest guitar riffs ever), but I think Tonight and Never Let Me Down "got away" from him, which I think is what eventually led him to doing Tin Machine (which either Watch or Ward, I forget which defined as "too little too late").
Oh, and if you're going to induct Lou Reed as a solo artist, then you need to induct Herbie Flowers, Steve Hunter, Dick Wagner, and Robert Quine, because they made his solo records actually worth listening to.
Last edited by GuitarGeek; 10-11-2014 at 01:30 PM.
When I had the occasion to go to a dance bar in the 80's, Let's Dance or tunes from that album were best to listen too, and dance too. I have the vinyl and haven't listened to it in years. Maybe I'll transfer to ITunes
As I recall, "popularizing the blues in the 80s" was no small feat so I certainly am not going to understate that accomplishment .....and IMHO, Roy Buchannon and Danny Gatton play circles around Johnny Winter who plays circles around SRV. So? None of this diminishes Stevie's talent as a player
Got that right. Do they pick names out of a hat? No Yes?!
As the story goes, SRV was invited to play the Montreaux Jazz Festival in '82 or so - no one knew him, he had to use unfamiliar gear (Fender Twin Reverbs instead of his favorite Vibroverbs), so he was 'too loud', and didn't go over well generally. However, there were some very good after-hours jams (with Jackson Browne, among others), and Bowie heard him and loved what he heard. Stevie got invited to record and solo all over "Let's Dance", and it was a break-through for him. 3 or 4 years later, big stars SRV and Double Trouble made a triumphant return to Montreaux. There is a double CD set of both shows.
That's pretty much the story. Bowie asked SRV to play on Let's Dance, and Jackson Browne let him record at his recording studio, which led to him being signed to Columbia. T
SRV was also supposed to play on David Bowie's Serious Moonlight tour. The story goes that once tour rehearsals started, he realized he had made a mistake. So I think he conspired with his own manager to get himself fired from the tour. The story Bowie goes is that the band was the hotel in NYC getting ready to leave for the airport, when SRV's manager called for a meeting with Bowie's tour manager (Bowie himself had already flown over to Europe to do press) to renegotiate SRV's pay. The tour manager then instructed the bus driver to remove SRV's bags from the bus because "He will not be going with us to Europe". Bowie was pissed when he found out that such decisions were made without consulting him. They had to fly Earl Slick in at the last minute to do the tour. He had to listen to a tape on the plane to learn on the song segues, etc, and played the first show of the tour pretty much no rehearsal.
You are correct, sir. And what about Doug Sahm? He did more for Tex-Mex than anyone else. Oh, I guess that's not rock and roll enough. And Chic is?
Lou
Looking forward to my day in court.
Sure Doug Sahm and Roky Erickson. Parsons totally changed the Stones from the late 60s and early 70s.
Posting Permissions
Reply With Quote
Bookmarks