JB Anderton
Published Jan 8, 2024Batman TV Theme written by Neil Hefti
Arrangement by JB Anderton
Bass, guitar, keyboards and drum loop programming – JB AndertonBatman ’66 is a registered trademark of Greenway Productions/20th Century Fox. No infringement is intended.
#KingCrimson #Batman66
May 20, 2024
If King Crimson Played the Batman TV Theme
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May 19, 2024
Rush Meets LOONEY TUNES???
pdbass
Published Jan 4, 2024Remember that time Rush worked music from cartoons into one of their greatest recordings?
Digging into “La Villa Strangiato” from 1978’s Hemispheres, breaking down Geddy Lee’s wicked bass solo (and its Jazz connections) and showing you how pianist/composer Raymond Scott will always be linked to this iconic prog rock instrumental.
(more…)
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May 4, 2023
QotD: Gesamtkunstwerk
… it occurs to me that movies aren’t the best example of the Current Year’s creative bankruptcy — music is. Somewhere below, I joked that Pink Floyd’s album The Wall was a modern attempt at a Wagnerian Gesamtkunstwerk, a “total art work”. Wagner thought opera should be a complete aesthetic experience, that a great opera would have not just great music, but a great story in the libretto, great poetry in the lyrics, great painting in the set design, and so on, all of which would combine to something much greater than the sum of its already-excellent parts.
As I said, that’s awfully heavy for an album whose most famous song asks how can you have any pudding if you don’t eat your meat, but it’s nonetheless an accurate description of what Roger Waters was trying to do with the integrated concept album / movie / stage show. Whether or not he knew he was attempting a Gesamtkunstwerk in the full Wagnerian sense is immaterial, as is the question of whether or not he succeeded. Nor does it matter if The Wall is any good, musically or cinematically or lyrically.* The point is, he gave it one hell of a go … and nobody else has, even though these days it’d be far, far easier.
Consider what a band like Rush in their prime would’ve done with modern technology. I’m not a musician, but I’ve been told by people who are that you can make studio-quality stuff with free apps like Garage Band. Seriously, it’s fucking free. So is YouTube, and even high-quality digital cameras cost next to nothing these days, and even laptops have enough processor power to crank out big league video effects, with off-the-shelf software. I’m guessing (again, I’m no musician, let alone a filmmaker), but I’d wager some pretty good money you could make an actual, no-shit Gesamtkunstwerk — music, movie, the whole schmear — for under $100,000, easy. You think 2112-era Rush wouldn’t have killed it on YouTube?
I take a backseat to no man in my disdain for prog rock, but I have a hard time believing Neal Peart and the Dream Theater guys were the apex of rock’n’roll pretension. I realize I’ve just given the surviving members of Styx an idea, and we should all be thankful Kilroy Was Here was recorded in 1983, not 2013, because that yawning vortex of suck would’ve destroyed all life in the solar system, but I’m sure you see my point.** Why has nobody else tried this? Just to stick with a long-running Rotten Chestnuts theme, “Taylor Swift”, the grrl-power cultural phenomenon, is just begging for the Gesamtkunstwerk treatment. Apparently she’s trying real hard to be the June Carter Cash of the New Millennium™ these days, and hell, even I’d watch it.***
The fact that it hasn’t been attempted, I assert, is the proof that it can’t be done. The culture isn’t there, despite the tools being dirt cheap and pretty much idiot proof. Which says a LOT about the Current Year, none of it good.
* The obvious comment is that Roger Waters is no Richard Wagner, but that’s fatuous — even if you don’t like Wagner (I don’t, particularly), you have to acknowledge he’s about the closest thing to a universal artistic genius the human race has produced. It’s meaningless to say that Roger Waters isn’t in Wagner’s league, because pretty much nobody is in Wagner’s league. And philistine though I undoubtedly am, I’d much rather listen to The Wall than pretty much any opera — I enjoy the symphonic bits, but opera singing has always sounded like a pack of cats yodeling to me. I’m with the Emperor from Amadeus: “Too many notes.”
** If you have no idea what I’m talking about, then please, I’m begging you, do NOT go listen to “Mr. Roboto.” Whatever you do, don’t click that link …
… you clicked it, didn’t you? And now you’ll be randomly yelling “domo arigato, Mister Roboto!!” for days. You’ll probably get punched more than once for that. Buddy, I tried to warn you.
*** Anthropological interest only. I know I’m in the distinct minority on this one, but she never turned my crank, even in her “fresh-scrubbed Christian country girl” stage. Too sharp featured, and too obviously mercenary, even back then.
Severian, “More Scattered Thoughts”, Rotten Chestnuts, 2020-10-13.
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January 24, 2022
QotD: The Punk-Prog War of 1977
The Sex Pistols were angry young men — sois-dissant situationists who hated the dreamy Jung men with their Hipgnosis gatefold album art, their endless concept albums and “song-cycles”, and their am-dram dressing-up box shenanigans. The progs were pretentious and effete and disdained, not only for being able to read music, but for littering their lyrics with symbols from the collective unconscious. It all came from doing too much prep — they were the decadent ancien regime to punk’s snotty sans culottes.
Whether there was any truth to all this didn’t matter much. As mediated by their friends at the NME, the punks despised prog — a genre they regarded as anything but progressive. And Genesis were among the original sinners. True, it was a Pink Floyd t-shirt onto which Johnny Rotten had scrawled “I hate”, an alteration which amounted to all the wit he needed back then to get hired by Malcolm McLaren. But Genesis were the Druidic Lords of the iddly-diddly — the eye-wash and the whimsy that the bin-bag and safety-pin boys and girls found so contemptible.
The Pistols drew as much of their energy from the desire to make overfed rock dinosaurs like Genesis extinct, as they did from making music themselves. They wanted to see the carcasses of these privately educated fops littering the impact crater of punk rock, exposed for the cold blooded, lumbering, vegetative grotesques that they were. The nimble-witted likes of Rotten and Co. pogoed jubilantly on the wreckage of shattered Melotrons and twin-necked Gibsons and their long-overdue graves. Their hour — 1977, year zero — had surely arrived.
Simon Evans, “Rocker Crocked. Pistol Shot.”, Quillette, 2021-10-04.
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May 2, 2021
“Stairway To Heaven” – Medieval Style
Early Style
Published 29 Aug 2020Original theme from Led Zeppelin (1971) in medieval – renaissance instruments
#StairwayToHeaven #MedievalStyle #Bardcore
From the comments:
Christopher Merlot
2 months ago
Led Zeppelin did a really good cover of this.
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August 1, 2018
Farewell to Canada’s best trio … and this time, they mean it
Colby Cosh, clearly a fellow long-time Rush fan, heaves a sigh and writes the musical epitaph:
Rush in concert, Milan 2004.
Photo by Enrico Frangi, via Wikimedia Commons
All of this — even Neil Peart’s remorseless flintiness — reflects the distinctive, endearing characteristics of Rush: the band has now ceased to exist for some of the same reasons it attracted adoring generations of listeners. As a commercial proposition, Rush remains a potential superpower. Other groups of similar magnitude have always been able to find ways to push on when important members, or even every member that anyone might recognize, came to the end of the road. (In a rock group there is usually at least one person who could really use the cash from a tour.)
Could Geddy Lee and Alex Lifeson find some young drummer with healthy wrists and ankles, take “Rush” to the casino circuit, and sell mountains of $75 tickets? They probably could, and they would probably put on a wonderful show. But it is unthinkable (he wrote, knocking on the wood of his desk) for them to do such a thing under the Rush name.
They could probably even devise a low-stress acoustic-heavy setlist, with slowed-down versions of the hits, that they could take to small venues with Peart in tow. Tempting as such schemes must be — Lee was publicly in denial about Peart’s second retirement for ages, and Lifeson says he would go on if it were entirely up to him — they do not suit the nature of Rush.
The group is a three-piece in which every piece counts more or less equally. And part of what their fans pay to see is physical effort of the highest intricacy. I hope it will not offend my fellow Rush fans if I compare it to juggling or acrobatics, or at least suggest that it has such an aspect. Rush songs are full of unpredictable, shifting time signatures and difficult cues. The band’s numerical paucity leaves nowhere to hide dropped chords or melodic clangers. Unlike most three- and four-piece groups, Rush has almost always refused to ever bring a hired sideman onto the live stage, even though this requires Lee to operate sequencers with foot pedals while playing what are often ludicrously difficult bass lines — AND singing like, well, like Geddy Lee.
This, I say as someone who loves Geddy like a family member, is truculence bordering on absurdity. If Rush could approach fans individually and talk it out with them, they could probably persuade them that it made sense to bring a keyboardist, or even a rhythm guitarist, along on the road. (Some groups even sneak in a second percussionist!) It may even be a bit sad that we were denied a more collegial Rush, one that participated in the life of its musical generation, strayed occasionally from its triune purity, and did fun crossovers with other groups (such as 1980’s “Battle Scar”, recorded with fellow Torontonians Max Webster for the Universal Juveniles LP).
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June 13, 2017
Dave Weigel’s The Show That Never Ends: The Rise and Fall of Prog Rock now available
Several years back, Dave Weigel wrote a series of articles chronicling the rise and fall of Prog Rock. Today, his new book is being published:
The fact that I linked to all five parts of his 2012 series is probably enough of a clue that I’m a fan of the genre and will be purchasing my own copy of the book. Here’s some of the blurb from the Amazon.ca page (Click on the image above to go to the Amazon.ca site):
The Show That Never Ends is the definitive story of the extraordinary rise and fall of progressive (“prog”) rock. Epitomized by such classic, chart-topping bands as Yes, Genesis, Pink Floyd, Jethro Tull, and Emerson Lake & Palmer, along with such successors as Rush, Marillion, Asia, Styx, and Porcupine Tree, prog sold hundreds of millions of records. It brought into the mainstream concept albums, spaced-out cover art, crazy time signatures, multitrack recording, and stagecraft so bombastic it was spoofed in the classic movie This Is Spinal Tap.
With a vast knowledge of what Rolling Stone has called “the deliciously decadent genre that the punks failed to kill,” access to key people who made the music, and the passion of a true enthusiast, Washington Post national reporter David Weigel tells the story of prog in all its pomp, creativity, and excess.
Weigel explains exactly what was “progressive” about prog rock and how its complexity and experimentalism arose from such precursors as the Beach Boys’ Pet Sounds and the Beatles’ Sgt. Pepper. He traces prog’s popularity from the massive success of Procol Harum’s “Whiter Shade of Pale” and the Moody Blues’ “Nights in White Satin” in 1967. He reveals how prog’s best-selling, epochal albums were made, including The Dark Side of the Moon, Thick as a Brick, and Tubular Bells. And he explores the rise of new instruments into the prog mix, such as the synthesizer, flute, mellotron, and—famously—the double-neck guitar.
If this clip of Yes performing “Roundabout” doesn’t immediately suggest Spinal Tap, I can only assume you’ve never seen the movie:
But not everyone of my generation was a fan of prog: here’s James Lileks summing up what he thought of the age of musical excess:
It’s obvious from Note One that everyone involved in the effort had so much THC in their system you could dry-cure their phlegm and get a buzz off the resin, but instead of having the loose happy ho-di-hi-dee-ho cheer of a Cab Calloway reefer number, the songs are soaked with Art and Importance and Meaning. You can imagine the band members sitting down to hash out (sorry) the overarching themes of the album, how it should like start with Total Chaos man because those are the times in which we live with like war from the sky, okay, and then we’ll have flutes because flutes are peaceful like doves and my old lady can play that part because she like studied flute, man, in high school. The lyrics are all the same: AND THE KING OF QUEENS SAID TO THE EARTH THE HEIROPHANT SHALL NOW GIVE BIRTH / THE HOODED PRIESTS IN CHAMBERED LAIRS LEERED DOWN UPON THE LADIES FAIR / NEWWWW DAAAAY DAWNNNING!
January 20, 2017
Scarfolk Council announces that local prog rock band Beige will perform at the inaugural
Posting on their Google+ account from deep in the 1970s, Scarfolk Council made this announcement:
We’re proud to announce that Scarfolk’s very own prog-rock group Beige have been asked to reform & perform Space Minstrel in its entirety at Donald Trump’s inauguration tomorrow. https://scarfolk.blogspot.com/2013/03/space-minstrel-by-beige-prog-rock-1978.html
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December 8, 2016
Greg Lake, RIP
The BBC reported that Greg Lake has died:
Greg Lake, who fronted both King Crimson and Emerson, Lake and Palmer, has died aged 69.
One of the founding fathers of progressive rock, the British musician is known for songs including “In the Court of the Crimson King” and his solo hit “I Believe in Father Christmas”.
He died on Wednesday after “a long and stubborn battle with cancer”, said his manager.
The news comes nine months after Lake’s band-mate Keith Emerson died.
Keyboardist Emerson died of a self-inflicted gunshot wound, coroners in the US said.
Lake’s manager Stewart Young wrote on Facebook: “Yesterday, December 7th, I lost my best friend to a long and stubborn battle with cancer.
“Greg Lake will stay in my heart forever, as he has always been.”
Genesis guitarist Steve Hackett paid tribute on Twitter, writing: “Music bows its head to acknowledge the passing of a great musician and singer, Greg Lake.”
“Another sad loss with the passing of Greg Lake,” wrote Rick Wakeman, keyboardist in pro rock band Yes.
“You left some great music with us my friend & so like Keith, you will live on.”
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March 12, 2016
Keith Emerson, RIP
I was saddened to hear that Keith Emerson died yesterday:
Keith Emerson, one of the founding members of progressive rock group Emerson, Lake and Palmer, has died.
The keyboardist died at the age of 71 at his home in California on Thursday night, the band confirmed.
Bandmate Carl Palmer said he is “deeply saddened” and paid tribute to his “brother-in-music”.
“Keith was a gentle soul whose love for music and passion for his performance as a keyboard player will remain unmatched for many years to come,” he said in a statement online.
“He was a pioneer and an innovator whose musical genius touched all of us in the worlds of rock, classical and jazz. “I will always remember his warm smile, good sense of humor, compelling showmanship, and dedication to his musical craft.
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October 16, 2014
Prog Rock and the occult
Peter Bebergal discusses some of the occult influences of Progressive Rock at Boing Boing:
At a recent gallery show of his artwork, Roger Dean — best known for his lush and fantastical album covers for Yes in the 1970s — was enjoying the crowd when a man approached him and held out his hand to shake. “Mr. Dean, your work has changed my life,” he said, “I have gleaned so many amazing, mystical secrets from looking at your album covers, can you tell me sort of what you meant by it.” Dean, ever polite, tried to let the man down easily. “I didn’t mean anything at all. It was just a good — looking album cover.” His superfan, disillusioned, and possibly embarrassed, now turned nemesis, “Well, what do you know?” he angrily spat, “You’re just the artist!” Despite his protestations, Dean might have taken some responsibility for contributing to casting a wide mystical net over an entire subgenre of music, known sometimes derogatorily as progressive rock. You are unlikely to find a prog-rocker who refers to their own music in those terms, but the term serves as a way to describe a movement in rock, one steering a massive ship away from the siren call of blues-based rock that had so long dominated popular music, toward a more English tradition of what Greg Lake of the supergroup Emerson, Lake and Palmer (ELP) described as “troubadour, medieval storytelling.” Rock would inherit this mantle proudly, looking toward the mythology of the past — often heavily informed by occult images — to construct the sound of the future.
Psychedelic rock bands set the course, but in the 1970s, a new wave of bands looked beyond the drugginess of psychedelia to classical music as the true guide. Coupled with the instruments of the future — particularly Moog synthesizers — progressive rock crafted rock suites, with some songs clocking twenty minutes or more. Dean’s paintings were otherworldly landscapes of floating islands and boulders, or stone structures rising up like trees. Largely unpopulated, save for the occasional butterfly/dragon hybrid, there were no aliens, elves, or wizards. His worlds might be long-dead civilizations, like the lifeless plains of Mars haunted by the once-thriving Martian societies in Ray Bradbury’s Martian Chronicles, or future lands where people have taken to hibernating in the inexplicable constructions of their cities, endlessly waiting. Dean had perfected the merging of science fiction with mysticism, invoking the imagination of prog-rock listeners who were convinced there was some story or greater truth behind his art, and spent hours listening and poring over the album covers, meant to coexist in an ideological way.
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May 6, 2014
Rick Wakeman on the best financial advice he ever received
Lorraine McBride talks to Rick Wakeman about his career.
Has there ever been a time when you worried how you were going to pay the bills?
Yes, there have always been times like that. In the late Sixties, when I played at the Top Rank ballroom, being an organist meant carting my organ around to sessions, which cost two thirds of my earnings, on top of running a car, which was when I learnt the word “expenses”.
My rent cost £8 a week and I can remember being really short. In 1970, I was up in London looking for session work and Marc Bolan who was a great mate, gave me a session for Get It On. All I had to do was a glissando on the piano. I said to him afterwards, “You could have done that,” and he replied, “Well, you want your rent money don’t you?” Tough times, but when I joined Yes, I went from £18 a week to £50 a week.
Yes made a fortune, what did you spend it on?
We were all told to go out and buy a nice house, which was an eye-opener because I’d only known a two-up, two-down and a Ford Anglia. Suddenly we were talking five-bed, des-res. I remember looking around one house for sale in Gerrards Cross and the lady said, “This is the breakfast room.” I said: “What, just for breakfast?” because it was just a different world.
Lots of rock stars get ripped off, did you learn any tough lessons?
Yes, everybody in the business did. One thing you start to learn, usually too late, is that being top of the tree doesn’t last forever. You drop down a few branches and find your position but you set yourself a lifestyle that requires “top of the tree” earnings to pay for it. Then of course, you have the unexpected events like a divorce of which I’ve had three.
Suddenly you grow up very quickly and certainly when a problem hits, you back-pedal to try and work out how to sort it out. I was lucky. I had a very good accountant who helped tremendously and I learnt to listen but it took a long time. It probably wasn’t until the turn of the millennium when I found myself in yet another divorce, when the situation seems unbelievable, you really start to listen.
[…]
What’s been your best financial move?
Undoubtedly listening to David Bowie who said: “Be your own man and don’t listen to people who don’t know a hatchet from a crotchet and try to fulfil their own ideas through you because they haven’t got any.” I wanted to do Journey to the Centre of the Earth with an orchestra but there wasn’t enough money from the record company. I ended up mortgaging my house, selling everything I owned. I begged, borrowed and stole to do it. But the record company didn’t want it and I faced losing everything because I was so heavily in debt.
Eventually my record company in America loved it, insisted it was released and it sold 15 million copies and that really taught me to be my own man. Spending money I didn’t have was simply my best financial decision because if I hadn’t done it, 40 years on, I wouldn’t be doing my shows now.
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July 28, 2013
Procol Harum and the Danish National Concert Orchestra and choir
Procol Harum performing A Whiter Shade of Pale with the Danish National Concert Orchestra and choir at Ledreborg Castle, Denmark in August 2006
H/T to American Digest for the link.
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June 15, 2013
Prog rock fans, unite!
In Maclean’s, Stephen Skratt talks about a new book on prog rock:
Let the hating begin. ELP are often cited as the reason punk had to happen. After the Beatles and before the Sex Pistols, they, along with Genesis, Yes, King Crimson and Pink Floyd, sold millions of records, topped critics’ polls and ushered in a golden era of prog rock. There were capes, songs about supernatural anaesthetists, a trilogy of albums about a “radio gnome,” and King Arthur on ice — literally, with skating pantomime horses (courtesy of a Rick Wakeman show). Prog virtuosos fused rock, classical, folk, jazz and Renaissance music, and took little from blues. The music couldn’t get more white — or more unfashionable. Twenty-minute songs performed by earnest young men trying to sound like an orchestra, hopping from one instrument to another, or playing several at once: this was large-scale, ambitious music meant to accompany grand lyrics and stage spectacles. Gone was sex, drugs and rock ’n’ roll, replaced by Kubrickian space-outs, Eastern philosophy and walls of synthesizers — or guitars trying to sound like synthesizers.
[. . .]
Now the music is crawling out from under its toadstool in Yes Is The Answer, edited by Tyson Cornell and Marc Weingarten. Cornell, founder of L.A.-based Rare Bird Books and a musician himself, admits the idea of having respectable writers challenge the accepted gospel about prog was far-fetched. “When Marc and I started doing this,” he says, “everybody we talked about it with was just laughing at us. But then people started to tell their stories, and it just unfolded.”
[. . .]
The book — a tribute to what Weingarten identifies in the introduction as “prog rock’s grandeur, its mushy mysticism, its blissed-out mystery” — is a high point in a renaissance that’s been building: a reverential 2009 BBC documentary (Prog Britannia), a magazine (Classic Prog), and a growing number of festivals, including Prog Angeles, organized by Cornell and featuring members of Weezer and others. Tastemaking online music journal Pitchfork drops the P-word on an almost weekly basis in describing some impossibly cool band’s music, from metal monsters Mastodon to French electronic duo Justice — an admission, finally, that someone was listening. And there is the full-on revival of the band responsible for a concept album about hemispheres of the brain: Rush. As Nirvana’s Dave Grohl said in his speech inducting Rush into the Rock and Roll Hall of Fame, “There’s one mystery that eclipses them all: when the f–k did Rush become cool?”
For all this, it’s unlikely prog will get the reappraisal its supporters feel it’s due. The biggest strike against the genre has long been that it’s bloated, corporate, the antithesis of punk — even though in spirit prog may not have been all that far off from punk. They shared a broad political ideology. Henry Cow and the other bands make up “rock in opposition,” a popular subgenre of prog, which, aside from influencing avant-garde jazz musicians over the years, make the Clash look like weekend protesters. King Crimson’s 21st Century Schizoid Man opens with the snarl of, “Nothing he’s got he really needs.” Prog explored dystopian worlds of environmental apocalypse and corporate greed, occasionally with more subtlety and whimsy than punk. And prog rockers were as committed to their outlandish musical vision as punk was to its three chords; far from all being pampered middle-class kids, they too struggled for an audience and money during their formative years. The average punk band just imploded within a few years of forming — they never stuck around long enough to be derided as “dinosaurs.”
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April 19, 2013
“Recklessly normal” band inducted into Rock and Roll Hall of Fame
Jessica Allen on Rush:
The first time Maclean’s wrote about Rush was in our July 12, 1976, issue. Back then, Geddy Lee was 22 and the band’s music sent “teen-age fans into paroxysms of ecstasy.” But offstage, the three members were described as “recklessly normal.”
Not much has changed.
Rush’s fans are, well, unique. It was their ardour, after all, that persuaded the Rock and Roll Hall of Fame to include Rush among its 2013 inductees. Tonight, Dave Grohl and Taylor Hawkins of the Foo Fighters will present Rush at the Hall of Fame ceremony in Los Angeles 10:30 p.m.
[. . .]
In 1997, Rush was the first rock band to be appointed officers of the Order of Canada since the national honor system, which recognizes “significant achievement in important fields of human endeavor” was created in 1967.
When asked about why it took so long for the band that produced 19 records in a row to reach gold or platinum certification in Canada to be inducted into the Hall of Fame, joining the ranks of bands like Abba, Aerosmith, The Talking Heads and Madonna, Lee suggested that it might have to do with the style of music they play: “Progressive rock is not accepted by this group of people who make this decision. Yes are not in the Hall. That’s an error. Deep Purple are not in the Hall. That’s an error. Moody Blues are not in the Hall. So prog-rock is viewed as a kind of lesser art form by the powers that be.”
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