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In 1974 the British progressive rock group Genesis released their
double concept album The Lamb Lies Down on Broadway. The story was
described by Genesis's then front-man Peter Gabriel as a 'moral
fable' about Rael, a half-Puerto-Rican New York City street tough
who is engulfed by a solid cloud into a series of strange
adventures in a metaphysical realm. The album is a surreal allegory
drawing its material from religious, literary and psychological
themes. More than thirty years after its release, The Lamb Lies
Down on Broadway still enthralls listeners, earning the distinction
of being Genesis's most consistently selling back-catalogue
release. Kevin Holm-Hudson analyses The Lamb within the context of
Genesis's recorded output, within the progressive rock genre as a
whole, and within the context of social and political changes of
the mid 1970s. The Lamb marked a conscious shift in their story
setting to America, and for the first time the songs were oriented
to the present rather than the past or future. Significantly, while
1974 marked the peak of music industry growth and consolidation
through corporate mergers, it was also the year in which America
was confronted with its limits: through the first of the OPEC
energy crises, the resignation of Richard Nixon, the withdrawal
from Vietnam, and the effects of runaway inflation. Genesis's
native Britain was also to feel the effects of the energy crisis,
intensified by a period of economic slowdown that ultimately led to
the rise of Thatcherism. The Lamb is set in New York City during
this time of uncertainty. Within a few years the economic
constraints would affect the industry as a whole and as a result
progressive rock would suffer a precipitous drop in industry
support. The Lamb Lies Down on Broadway thus makes a particularly
rich subject for detailed study, providing compelling intersections
between the musical, textual and socioeconomic aspects of an album.
Progressive or art rock was one of the most important trends in rock and roll during the early and mid-'70s. Groups like Genesis, Yes, Procol Harum, and Pink Floyd broke new ground by taking classical composition techniques and structures and wedding them with the power and drive of rock. Yet, by the end of the decade, the punk backlash had pretty much ended prog-rock's reign as rock's leading style. Today, scholars of rock and popular culture have returned to these musical groups and their achievements with new recognition of the musical sophistication they brought to rock and roll. In this book, the glory days of progressive rock are relived in a series of insightful essays about the key bands, songwriters, and songs that made prog-rock such an innovative style. For fans-both old and new-this collection sheds new light on an important trend in rock and roll with repercussions still being felt among today's artists. Progressive Rock Reconsidered is a landmark work on this important era in rock's history.
Progressive or art rock was one of the most important trends in rock and roll during the early and mid-'70s. Groups like Genesis, Yes, Procol Harum, and Pink Floyd broke new ground by taking classical composition techniques and structures and wedding them with the power and drive of rock. Yet, by the end of the decade, the punk backlash had pretty much ended prog-rock's reign as rock's leading style. Today, scholars of rock and popular culture have returned to these musical groups and their achievements with new recognition of the musical sophistication they brought to rock and roll. In this book, the glory days of progressive rock are relived in a series of insightful essays about the key bands, songwriters, and songs that made prog-rock such an innovative style. For fans-both old and new-this collection sheds new light on an important trend in rock and roll with repercussions still being felt among today's artists. Progressive Rock Reconsidered is a landmark work on this important era in rock's history.
In 1974 the British progressive rock group Genesis released their
double concept album The Lamb Lies Down on Broadway. The story was
described by Genesis's then front-man Peter Gabriel as a 'moral
fable' about Rael, a half-Puerto-Rican New York City street tough
who is engulfed by a solid cloud into a series of strange
adventures in a metaphysical realm. The album is a surreal allegory
drawing its material from religious, literary and psychological
themes. More than thirty years after its release, The Lamb Lies
Down on Broadway still enthralls listeners, earning the distinction
of being Genesis's most consistently selling back-catalogue
release. Kevin Holm-Hudson analyses The Lamb within the context of
Genesis's recorded output, within the progressive rock genre as a
whole, and within the context of social and political changes of
the mid 1970s. The Lamb marked a conscious shift in their story
setting to America, and for the first time the songs were oriented
to the present rather than the past or future. Significantly, while
1974 marked the peak of music industry growth and consolidation
through corporate mergers, it was also the year in which America
was confronted with its limits: through the first of the OPEC
energy crises, the resignation of Richard Nixon, the withdrawal
from Vietnam, and the effects of runaway inflation. Genesis's
native Britain was also to feel the effects of the energy crisis,
intensified by a period of economic slowdown that ultimately led to
the rise of Thatcherism. The Lamb is set in New York City during
this time of uncertainty. Within a few years the economic
constraints would affect the industry as a whole and as a result
progressive rock would suffer a precipitous drop in industry
support. The Lamb Lies Down on Broadway thus makes a particularly
rich subject for detailed study, providing compelling intersections
between the musical, textual and socioeconomic aspects of an album.
In 1972-73, Barney Childs embarked on an ambitious attempt to
survey the landscape of new American concert music. He recorded
freewheeling conversations with fellow composers, most of them
under forty, all of them important but most not yet famous. Though
unable to publish the interviews in his lifetime, Childs had
gathered invaluable dialogues with the likes of Robert Ashley, Olly
Wilson, Harold Budd, Christian Wolff, and others. Virginia Anderson
edits the first published collection of these conversations. She
pairs each interview with a contextual essay by a contemporary
expert that shows how the composer's discussion with Childs fits
into his life and work. Together, the interviewees cover a broad
range of ideas and concerns around topics like education, notation,
developments in electronic music, changing demands on performers,
and tonal music. Innovative and revealing, Interviews with American
Composers is an artistic and historical snapshot of American music
at an important crossroads.
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