In the late 70s, as punk and post-punk bands spiraled towards their new wave destinies, prog dinosaurs stood paralyzed in the shadows. Bands like the Sex Pistols were meteors, igniting a global firestorm that would trigger prog's extinction. The British music press (Melody Maker, Sounds, NME, etc.), once proponents of prog darlings Genesis, Yes and ELP, now bashed any band releasing songs in odd time signatures and singing about aliens and whales. The punk revolution had turned the U.K. music industry and press on its head within a year (1976-1977).
For me, this is one of the most interesting times in pop music. Although prog groups saw their audiences rapidly dwindle (Yes audiences had dropped from 20,000 to 3,000 by 1980's Drama tour), many record labels had built fortunes on the works of prog artists and were willing to foot the bill for some interesting transitional experiments. Yes' Drama, ELPs' Works, Genesis' ...And Then There Were Three... were prime examples. Prog's threatened existence also coincided with some major shifts in lineups and the formation of new 'supergroups.' Asia would ultimately become the most memorable. Featuring Steve Howe (Yes), Geoff Downes (Yes/Buggles), John Wetton (King Crimson) and Carl Palmer (ELP), the group would score a top 10 hit, "Heat of the Moment," and hit the big time on the nascent MTV.
Without the short-lived formation of another band, Asia's success wouldn't have been possible. Enter U.K., one of the strangest supergroups of the 70s. John Wetton (vocalist/bassist) formed the project with his King Crimson (and former Yes) drummer, Bill Bruford in 1977. They added Eddie Jobson from Roxy Music on keyboards and the guitarist Allan Holdsworth (Soft Machine). U.K. experienced creative tension in the various members' musical visions: jazz, prog, pop, which never wholly synthesized. Within their first single, you can hear this. "In The Dead of Night" is a quintessential piece of transitional prog. The 7/4 time signature and Wetton's humorless and masculine vocals firmly root the piece in proglandia. However, Jobson replaces the typical keyboard ninjutsu of the genre with powerful block chords on tinny synthesizers. This keyboard style would become prevalent in early 80s music. Think Van Halen's "Jump." After one album, this version of U.K. split. The record flopped. There was no audience for the music and the press was busy fanning the flames of the punk revolution. "Nice chaps and everything. But a very miserable experience," explained Holdsworth in an interview. Wetton and Jobson continued as a three piece with Terry Bozzio (former Zappa drummer). U.K. finally fizzled by 1980, but their experience as a transitional band would lay the foundation for reconfigured 80s quasi-prog acts like Asia, the new King Crimson (led by Adrian Belew) and Missing Persons.
Never underestimate the power of corporeal politics. Today, hundreds of thousands of people marched through the streets of American cities demanding political action on gun control. In downtown Portland, ME thousands streamed down Congress St. and gathered at City Hall. I was there. It was powerful. When you are united with others in your community, marching, there is an energy -- a sense of unstoppable momentum. It is also reassuring. We are not alone in standing up to the insanity. We are one. I am inspired by the Americans (especially the women and young people) who have once again discovered the power of peaceful, non-violent protest. If we continue to march in these numbers, politicians will hear us. The continuing volume of our chants and rhythm of our marching feet, knocking at their door, will remind them to legislate on behalf of us -- the people. All of the money in the world can't pay back the moral deficit and heal the wounded conscience of NRA-backed legislators...
Jules & The Polar Bears is one of those bands that you want to like, but continue to remain on the fence about even after a decade of failed listens. Recently, I've been sampling bands from the late 70s and early 80s who released fake new wave albums -- major label acts who played middle of the road rock, but disguised it in skinny ties, brightly colored sweaters and catchy, Cars-y keyboard riffs. Jules & The Polar Bears are a good example. Their first record, 1978's Got No Breeding, was compared to Dylan, The Kinks and Springsteen. Personally, I hear a quirky Jackson Browne in the songwriting. Everything sounds bearded and mid-tempo, except Jules Shear, the singer. He gives the band a distinct sound with his "singing at the top of my range" yelp. But even with Shears' interesting squelch, the songs never break out of 70s rock conformity. The guitarist's resemblance to a member of Orleans or Doobie Brothers is telling. Enter 1979's "Fenêt...
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