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!
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 p...
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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