I am going down an ultra odd time signature, prog rock hole right now. Like, fast! I know that in a week or two I will crave nothing more than some Nick Drake or Flying Burrito Brothers. For the moment, however, when I get a free moment to enjoy music, I've found myself digging into the obscure solo discography of Yes, Genesis and King Crimson members. Today, I discovered this song while listening to Spotify in my classroom on my prep period. I paused it and listened to the intro four times in a row. As the students entered the next period, I cued the tune. They looked at me like I was listening to extraterrestrial jazz. That's because I basically was.
Here is a cut from drummer, Bill Bruford's (Yes, Genesis, King Crimson, U.K.) second album, "One of A Kind." It's like Daft Punk meets George Duke at a Scientology dance party with members of Return To Forever.... only better! My research tells me (because I couldn't figure this stuff out with my own mortal abilities) that each phrase of the intro piece is 19 beats (eighth notes/quavers) composed of a bar of 7, a bar of 7, and a bar of 5. So that's technically 19/8 time. Wowee Zowee!
I would contend that "Love, Reign O'er Me" is one of the most climactic and rewarding endings to an album in the history of rock & roll. It comes at the conclusion of a four-sided rock opera, begins with the sound of rain and ultimately ends with Keith Moon beating the shit out of his drums right after Roger Daltrey bellows "Looooooooooooove!" as if he is literally in the process of casting his life into the storming Atlantic Ocean while simultaneously absorbing every hardship, letdown and impossibility that he has ever faced. This is The Who at the peak of their powers. "Love, Reign O'er Me" was released in1973 as the second single from the band's sixth album and second rock opera, Quadrophenia . However, the deeper context of the song can only be truly experienced through listening to the entirety of Side 4 (Dr. Jimmy > The Rock > Love, Reign O'er Me). "The Rock," and six-minute instrumental, has a proggy, Celtic ...
Suzi Quatro was the first female bass player/vocalist to experience major success as a rocker. Originally from Detroit, she moved to Britain in 1971 at the urging of producer, Mickie Most. She put together a band of motley rockers, resembling the Stooges or MC5. On the road with Slade and Thin Lizzy, Quatro's group developed a rough and tumble, adrenalized rock and roll style that laid the groundwork for later female, rebel-rocker acts. The Runaways, Girlschool and eventually The Donnas were all touched by Quatro's persona and sound. Throughout the early 70s, Quatro was huge in the U.K. and Australia. Unfortunately, fame eluded her in the States. It wasn't until she landed a repeated cameo as the tough-talking Leather Tuscadero on Happy Days in 1977 that she became a household name. "Can The Can" is the second single, from her 1973 debut, Suzi Quatro . This song is so rock & roll, it's ridiculous. The Brady Bunch clones around the stage are like, We b...
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