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Author Topic: Van Der Graaf Generator  (Read 916 times)
ahh
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« Reply #15 on: 23:21:31, 24-04-2008 »

or in decent record shops such as Fopp.

Never heard of 'em so I looked up the name.  They seem to be the successor to Music Zone which was a shop I used now and then.  I bought 'The Sopranos' series 1 for £3 a disc there and 'Led Zep 4'.  I also picked up 'Atom Heart Mother' at £7 for a friend who had never heard it.  By the time it dawned on me that I should have bought a copy for myself they'd closed the place down!  Neither of our two local Music Zones has reopened as Fopp.  And, iirc, the choice in Music Zone shops was far narrower than even a provincial HMV.  I'll keep an eye open, though; despite my reservations I'd almost certainly pick up The Least We Can Do, H to He, Pawn Hearts, Still Life and perhaps a couple of others for a fiver each and might even give an ear to the later stuff I haven't heard.
 
In fact Fopp, having bought Music Zone, went bust, closed down and was then bought by HMV, who've reopened some of the stores. It's a shame because it was a great shop. Especially for DVDs.


Yes's '....Topographical Oceans', most commonly cited as an example of such, is - to my mind -an interesting and brave, if inconsistent, piece of work. 

I never could quite get Yes. I quite like the music, but the lyrics and performance always felt like an embarrasing uncle at a fancy-dress party.

King Crimson, Floyd, Soft Machine, CAN, Faust - liked them all (even Genesis' Foxtrot, but only that album). Thing is I never really tried with VDGG. Something about the name put me off, should I overcome my prejudice? People are not convincing me on the lyric content front.

'Genius' is an over-used word....I don't think rock has produced ANY geniuses to seriously compare with Wagner et al

Perhaps nothing in the league of Wagner or Beethoven; but cases can be made for Dylan, Zappa and maybe a few others.  I certainly prefer Hammill's witterings to punk but I suspect punk came about precisely because neither pop music nor its more cerebral big brother was going anywhere and the cobwebs needed blowing away.

Couldn't agree more about the need for punk. Could I add Robert Wyatt to the cream (can't use the g word) of rock? If you want a Wagner, no one sees the totality of art/music/performance in quite the way Bowie did. Perhaps that's why Bowie had his little fascist period!
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Ron Dough
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« Reply #16 on: 23:28:53, 24-04-2008 »

It's at this point that Ron habitually mentions GG  - not Mr Garnett, but the fearsomely musicianly Gentle Giant, his favourite band of all.
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Andy D
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« Reply #17 on: 23:40:48, 24-04-2008 »

Sorry Ron, I could never get into Gentle Giant - they were ok-ish as far as I was concerned.

My only VDGG LP was/is Godbluff - I was always much more of a Yes fan when it came to pretentious pomp-rock.
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Ian Pace
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« Reply #18 on: 00:36:37, 25-04-2008 »

To this day, I still draw a blank when people ask me for an example of prog vanishing up its own arse. 
Try Alan White's solo album Ramshackled - trust me, that will fit the bill. Wink
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
Andy D
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« Reply #19 on: 00:57:24, 25-04-2008 »

Tales from Topographic Oceans (sic  Wink) is still my favourite album from that period. I dismissed it as complete rubbish of course as soon as 1977 brought us the Clash, the Fall, etc but I've subsequently learned to love it again and have bought it on CD. The words are awful though, must agree with RB there.
« Last Edit: 00:58:56, 25-04-2008 by Andy D » Logged
Andy D
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« Reply #20 on: 01:03:10, 25-04-2008 »

Tarkus?

Haven't heard that for years - I'm pretty sure I've got it on a cassette somewhere. I seem to remember quite liking it Embarrassed
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Ian Pace
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« Reply #21 on: 01:05:14, 25-04-2008 »

Not sure if I would rate a taste for Yes (or ELP  Shocked) much higher than a taste for the S Club 7.

Some of the music in 'Karn Evil' is that to which I would imagine would might salute a Union Jack.
« Last Edit: 01:13:23, 25-04-2008 by Ian Pace » Logged

'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
Sydney Grew
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« Reply #22 on: 01:25:47, 25-04-2008 »

"What you have to ask yourself is why, exactly, a grown person should wish to be a child? - for to use the forms of infantile or immature life, to make an art of its technical imperfections, and to exploit its natural ignorance, is, in some sense, to wish to be a child. That, to start with, it is connected with the cult of the primitive and savage is obvious. The same impulse that takes the romantic painter, Gauguin, to the South-Sea paradise, takes a similarly romantic person of to-day to the Utopia of childhood, in the sense indicated above. Only the latter has the Heaven of Childhood inside himself (it is a time-paradise); whereas Gauguin had to go a long way to reach Samoa. That is the advantage that time-travel has over space-travel.

"That was really Proust's Utopia too. And the great appeal of that author is partly because he shows a method for capturing and retaining that spirit - the recherche du temps perdu - and partly because he so feverishly expresses the will to that particular dream.

"The demented also joins hands with the child, and the tricks, often very amusing, of the asylum patient, are exploited at the same time as the happy inaccuracies of the infant; contemporary inverted-sex fashions too are affiliated to the Child-cult."
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richard barrett
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« Reply #23 on: 01:35:02, 25-04-2008 »

Not sure if I would rate a taste for Yes (or ELP  Shocked) much higher than a taste for the S Club 7.

What's this now, Musical Tastes Variously Rated?

One of these days I think I'll get myself a CD of Tales and see how it goes down after all these years. I remember liking Relayer as well, although after that things went seriously downhill. The thing about Yes is that in comparison with most of their contemporaries the music had an expressive and textural variety and lack of bombast (unlike ELP, whose work I could never stand), all of which I found quite attractive.
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oliver sudden
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« Reply #24 on: 09:19:18, 25-04-2008 »

contemporary inverted-sex fashions


?

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Ron Dough
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« Reply #25 on: 09:20:38, 25-04-2008 »

Brain Salad Surgery and Tales from Topographic Oceans both have their place on the shelves here, though personally I'd rate Time and a Word, Fragile and Close to the Edge above the latter, and a special commendation for Chris Squire's solo Fish out of Water album
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richard barrett
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« Reply #26 on: 09:32:23, 25-04-2008 »

a special commendation for Chris Squire's solo Fish out of Water album

Now that's something I heard a couple of times when it came out but never since, I remember liking it but otherwise my mind's a blank.
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Ian Pace
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« Reply #27 on: 09:46:01, 25-04-2008 »

Well, for those who don't know it, or haven't heard it for a while, Tales from Topographic Oceans can be listened to here, here, here, here, here, here, here, here and here (all those links in the order I've given them will give the whole album).

And then, when you need something to wash away the taste, try this. John Peel cited Tales from Topographic Oceans as 'the reason that punk had to happen', I think.
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
Ron Dough
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« Reply #28 on: 10:44:26, 25-04-2008 »


And then, when you need something to wash away the taste, try this. John Peel cited Tales from Topographic Oceans as 'the reason that punk had to happen', I think.

Now here's something that separates (for want of better terms) 'popular' and 'classical' music. In the case of the popular, it's the music that came before what one considers one's own which deserves the deepest opprobrium. In the classical world, it would seem to be very much the opposite. Wink
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Ian Pace
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« Reply #29 on: 10:54:18, 25-04-2008 »

Now here's something that separates (for want of better terms) 'popular' and 'classical' music. In the case of the popular, it's the music that came before what one considers one's own which deserves the deepest opprobrium.
Not necessarily: there are plenty of people who think less than highly of 1970s progressive rock, but have much time for various 1960s achievements in popular music that preceded it, and are too young to have been of a generation that could claim either as their own. For me, I'd very much sooner listen to Bill Haley, Chuck Berry, Muddy Waters, Little Richard, Jerry Lee Lewis, Buddy Holly and various others all prominent in the 1950s, than to Yes, ELP, Van der Graaf Generator, Genesis, Jethro Tull, early King Crimson, or other manifestations of 1970s prog.
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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