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the Album That Is Considered the First Concept Album and Spawned the Idea of Art Rock Is

Written By Sunday, 24 April 2022 Add Comment Edit

Subgenre of rock music

Not to exist confused with Rock art.

Art rock
Other names Progressive stone
Stylistic origins
  • Experimental stone[1]
  • avant-garde[1]
  • psychedelic stone[2]
  • folk[3]
  • jazz[1]
  • classical[four]
Cultural origins 1960s, United States and United Kingdom
Derivative forms
  • Krautrock[5]
  • mail-progressive[6]
  • mail-punk[7]
Other topics
  • Art music
  • fine art pop
  • concept anthology
  • post-stone
  • progressive pop
  • rock opera
  • rockism

Fine art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate stone from entertainment to an artistic argument,[8] opting for a more experimental and conceptual outlook on music.[three] Influences may be fatigued from genres such equally experimental rock, avant-garde music, classical music, and jazz.[1]

Its music was created with the intention of listening and contemplation rather than for dancing,[iii] and is oftentimes distinguished past the use of electronic effects and like shooting fish in a barrel listening textures far removed from the propulsive rhythms of early rock.[8] The term may sometimes exist used interchangeably with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures.

The genre's greatest level of popularity was in the early 1970s through British artists. The music, every bit well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults, specially due to its virtuosity and musical/lyrical complexity.[3] Art rock is near associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s.[9] After, the genre would exist infused within later popular music genres of the 1970s–90s.[3]

Definitions [edit]

Critic John Rockwell says that art rock is one of rock'due south most wide-ranging and eclectic genres with its overt sense of artistic detachment, classical music pretensions, and experimental, avant-garde proclivities.[10] In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".[11] "Art rock" is often used synonymously with progressive rock.[12] [x] [1] [iii] Historically, the term has been used to depict at least two related, but singled-out, types of stone music.[thirteen] The first is progressive stone, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach divers by the Velvet Underground.[13] Essayist Ellen Willis compared these two types:

From the early sixties … in that location was a counter-tradition in rock and roll that had much more than in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis [progressive rock]; it involved more or less consciously using the basic formal canons of rock and roll as cloth (much as pop artists used mass art in general) and refining, elaborating, playing off that cloth to produce … rockand-roll fine art. While fine art rock was implicitly based on the claim that stone and roll was or could be every bit worthy equally more established art forms, rock-and-gyre art came out of an obsessive commitment to the language of rock and whorl and an as obsessive disdain for those who rejected that linguistic communication or wanted it watered down, fabricated easier … the new wave has inherited the counter-tradition.[14]

Art stone emphasizes Romantic and autonomous traditions, in stardom to the aesthetic of the everyday and the disposable embodied by art pop.[15] Larry Starr and Christopher Waterman's American Popular Music defines art stone as a "course of rock music that blended elements of rock and European classical music", citing the English language rock bands King Ruddy, Emerson, Lake & Palmer, and Pink Floyd equally examples.[16] Common characteristics include anthology-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections and symphonic orchestration.[3] Its music was traditionally used within the context of concept records, and its lyrical themes tended to be "imaginative" and politically oriented.[three]

Differences have been identified betwixt art rock and progressive rock, with fine art rock emphasizing avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterized every bit putting a greater emphasis on classically trained instrumental technique, literary content, and symphonic features.[i] Compared to progressive rock, art rock is "more than challenging, noisy and unconventional" and "less classically influenced", with more of an emphasis on advanced music.[1] Similarities are that they both describe a more often than not British attempt to elevate rock music to new levels of artistic credibility,[i] and became the instrumental analog to concept albums and rock operas, which were typically more vocal oriented.[17]

Art rock can as well refer to either classically driven rock, or to a progressive rock-folk fusion.[3] Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive stone,' also sometimes known as 'art rock,' or 'classical rock'" is music in which the "bands [are] playing suites, not songs; borrowing riffs from Bach, Beethoven, and Wagner instead of Chuck Drupe and Bo Diddley; and using language closer to William Blake or T. S. Eliot than to Carl Perkins or Willie Dixon."[18]

History [edit]

1960s [edit]

Background [edit]

The boundaries between art and popular music became increasingly blurred throughout the 2nd half of the 20th century.[19] The first usage of the term "fine art stone", according to Merriam-Webster Online Dictionary, was in 1968.[four] As popular music's dominant format transitioned from singles to albums,[nb 1] many rock bands created works that aspired to make g creative statements, where art rock would flourish.[21] Every bit it progressed in the late 1960s – in tandem with the evolution of progressive rock – art rock acquired notoriety aslope experimental stone.[22]

Proponents [edit]

The primeval effigy of fine art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity".[23] According to biographer Richard Williams: "[Spector] created a new concept: the producer as overall director of the creative procedure, from beginning to end. He took control of everything, he picked the artists, wrote or chose the textile, supervised the arrangements, told the singers how to phrase, masterminded all phases of the recording procedure with the most painful attending to detail, and released the result on his own label."[24] Williams too says that Spector transformed rock music as a performing fine art into an art that could just be in the recording studio, which "paved the way for art rock".[25]

The Embankment Boys' leader Brian Wilson is besides cited every bit i of the first examples of the auteur music producer.[26] [nb 2] Like Spector, Wilson was known as a reclusive studio obsessive who laboriously produced fantastical soundscapes through his mastery of recording engineering science.[28] Biographer Peter Ames Carlin wrote that Wilson was the forerunner of "a new kind of art-stone that would combine the transcendent possibilities of art with the mainstream accessibility of pop music".[29] Drawing from the influence of Wilson'south work and the work of the Beatles' producer George Martin, music producers after the mid 1960s began to view the recording studio equally a musical instrument used to assistance the process of limerick.[26] Critic Stephen Holden says that mid-1960s recordings by the Beatles, Spector and Wilson are often identified as marking the beginning of art popular, which preceded the "flatulent, classically inflected" art rock that started in the tardily 1960s.[21]

Many of the top British groups during the 1960s – including members of the Beatles, the Rolling Stones, the Kinks, the Who, 10cc, the Motility, the Yardbirds and Pink Floyd – came to music via art school.[30] [31] This institution differed from its Usa counterpart in terms of having a less industry-applicable syllabus and in its focus on furthering eccentric talent.[32] By the mid-1960s, several of these acts espoused an approach based on art and originality, where previously they had been captivated solely in authentic interpretation of U.s.-derived musical styles, such equally rock 'north' roll and R&B.[33]

According to journalist Richard Goldstein, many popular musicians from California (like Wilson) desired to be acknowledged as artists, and struggled with this aspiration. Goldstein says that the line between violating musical conventions and making "truly popular music" caused those who did not have "strong enough egos" (in contrast to Bob Dylan and the Beatles) to be "doomed to a respectful rejection, and a few albums with disappointing sales normally meant silence. ... They yearned for fame, as but needy people tin, but they as well wanted to make art, and when both of those impulses couldn't be achieved they recoiled in a ball of frantic confusion."[34]

Author Matthew Bannister traces "the more than self-conscious, army camp aesthetic of art rock" to pop artist Andy Warhol and the Velvet Underground, who emulated Warhol'southward art/pop synthesis.[35] Accordingly: "Warhol took Spector's combination of the disembodiment, 'distance' and refinement of high culture with the 'immediacy' of mass cultural forms like rock and roll several stages further ... Simply Warhol's aesthetic was more than thoroughly worked out than Spector's, which represented a transitional phase between erstwhile-fashioned auteurism and the thoroughly postmodern, discrete tenets of pop art. ... Warhol's approach reverberates throughout fine art rock, most obviously in his opinion of altitude and disengagement."[36] In 1969, the Doors too explored art rock genre on their fourth album, The Soft Parade.[37]

Influential albums [edit]

1965–66 [edit]

The Dec 1965 release of the Beatles' Rubber Soul signified a watershed for the pop album,[38] transforming it in telescopic from a collection of singles with lesser-quality tracks to a distinct art class, filled with high-quality original compositions.[39] The album garnered recognition for the Beatles as artists from the American mainstream printing,[twoscore] anticipating stone music's cultural legitimization as an art class.[41] Writing in 1968, Gene Sculatti of Jazz & Popular recognized Rubber Soul as "the definitive 'rock equally art' album" and "the necessary prototype" that major artists such every bit the Rolling Stones (with Aftermath) and the Beach Boys had felt compelled to follow.[42]

The menstruation when rock music became most closely aligned with art began in 1966 and connected until the mid 1970s.[43] Academic Michael Johnson assembly "the starting time documented moments of rise in rock music" to the Beach Boys' Pet Sounds and the Beatles' Sgt. Pepper's Lonely Hearts Guild Band (1967). Released in May 1966, Pet Sounds came from Wilson's desire to make a "complete argument", every bit he believed the Beatles had previously done with Prophylactic Soul.[44] [nb 3] In 1978, biographer David Leafage wrote that the anthology heralded art rock,[46] while according to The New York Observer, "Pet Sounds proved that a pop group could make an album-length piece comparable with the greatest long-class works of Bernstein, Copland, Ives, and Rodgers and Hammerstein."[47] Pet Sounds is also noted as the first rock concept album.[48] [49] [nb iv] In 1971, Cue magazine described the Beach Boys as having been "among the vanguard" with regard to art rock, amid many other aspects relating to the counterculture, over the period up to belatedly 1967.[50]

Jacqueline Edmondson'southward 2013 encyclopedia Music in American Life states that, although it was preceded by earlier examples, Frank Zappa and the Mothers of Invention'southward debut album Freak Out! (June 1966) came to be seen as "the start successful incorporation of art music in a pop context". With Los Angeles as his base since the early 1960s, Zappa was able to work in an environs where pupil radicalism was closely aligned with an agile advanced scene, a setting that placed the city ahead of other countercultural centres at the time and would continue to inform his music.[nineteen] Writer and pianist Michael Campbell comments that the album "contains a long noncategorical list of Zappa'southward influences, from classical avant-garde composers to obscure folk musicians".[12]

The Beatles' Revolver (August 1966) furthered the anthology-as-fine art perspective[51] and continued pop music'due south development.[52] Led by the art-rock unmarried "Eleanor Rigby",[53] it expanded the genre's scope in terms of the range of musical styles, which included Indian, advanced and classical, and the lyrical content of the album,[54] and too in its departure from previous notions of tune and structure in popular songwriting.[55] According to Rolling Stone, "Revolver signaled that in popular music, anything – any theme, whatever musical idea – could now exist realized."[56] As with Rubber Soul, the anthology inspired many of the progressive stone artists of the 1970s,[57] and each of its songs has been recognised equally anticipating a new subgenre or fashion.[58]

1967 [edit]

Clash Music names the Velvet Surreptitious's debut March 1967 anthology The Velvet Secret & Nico "the original art-stone record".[59] [nb 5] Bannister writes of the Velvet Hugger-mugger: "no other ring exerted the same grip on the minds of 1970s/1980s art/alternative rock artists, writers and audiences."[61] Their influence would recur from the 1970s onwards to various worldwide indie scenes,[61] [nb 6] and in 2006, The Velvet Underground & Nico was inducted into the Library of Congress' National Recording Registry, who commented: "For decades [it] has bandage a huge shadow over nearly every sub-multifariousness of advanced rock, from 70s art-rock to no-moving ridge, new-wave, and punk."[62] Notwithstanding, when the Velvet Underground first appeared in the mid 1960s, they faced rejection and were ordinarily dismissed as a "fag" band.[63] In 1982, musician Brian Eno famously stated that while The Velvet Underground & Nico initially sold just 30,000 copies, "anybody who bought one of those xxx,000 copies started a ring."[64]

The Beatles' Paul McCartney deemed Pet Sounds "the record of the time", and in June 1967, the band responded with their own album: Sgt. Pepper'southward,[65] [nb 7] which was also influenced by Freak Out! [66] AllMusic states that the first wave of art rock musicians were inspired by Sgt. Pepper's and believed that for rock music to abound artistically, they should comprise elements of European and classical music to the genre.[1] [nb eight] Many British groups flowered in the album's wake; those who are listed in Music in American Life include the Moody Dejection, the Strawbs, Genesis, and "almost notably", Pinkish Floyd.[68] [nb 9] The band's Roger Waters later stated that both Sgt. Pepper and Pet Sounds "completely changed everything about records" for him.[seventy]

1970s–1990s [edit]

Art rock'southward greatest level of popularity was in the early on 1970s through British artists including King Red and Queen.[3]

Enthusiasm for art rock explorations waned in the mid 1970s.[12] From then to the 1990s, fine art rock was infused inside various pop music genres.[3] Encyclopædia Britannica states that its genre'due south tendencies were continued by some British and American hard rock and popular rock artists, and that Brian Eno's late 1970s and early 1980s collaborations with David Bowie and Talking Heads are exemplary of "the successful infusion of art rock tendencies into other pop music genres".[3] Bowie and Eno collaborated on a serial of consecutive albums called the "Berlin Trilogy", characterized as an "art stone trifecta" by Effect of Sound, who noted that at the time of their release, "The experimental records weren't connecting with audiences on the scale Bowie was used to. ... New Wave had exploded, and a generation of Bowie descendants had taken the stage."[71]

In the 1980s, a new generation of English art rockers took the place of 1970s bands such as Roxy Music,[72] Yes, Genesis, Jethro Tull and Emerson, Lake & Palmer. Journalist Roy Trakin says: "Of course, these stalwarts can still fill Madison Square Garden and sell a peachy many records, as they always have, simply their days of audacious risk-taking and musical innovation are long gone – replaced past the smug satisfaction of commercial success."[73]

1990s-present: Revival and art metallic [edit]

Art metal
Other names Postal service metal
Stylistic origins
  • Heavy metal
  • art rock
Cultural origins 1990s, United states and other areas
Other topics
  • Progressive metal
  • post metallic
  • avant-garde metal
  • jazz metallic
  • mathcore

Since the 1990s, fine art stone has experienced a revival amongst stone and metal artists. Bands such equally Tool[74] [75] [76] and Deftones[77] [78] [79] were amongst the first to revive the genre with the albums Undertow (1993) and Adrenaline (1995). Both bands also blended the genre with heavy metal, specially progressive metallic, post-metallic, advanced metal, and in a few cases jazz metallic, mathcore, and nu metal.[nb 10] Both bands too managed airplay on rock radio and still do today their with past hits as well equally their more recent albums such as Fearfulness Inoculum (2019) and Ohms (2020).

Likewise around this time, a genre fusing art rock with heavy metallic chosen fine art metal emerged and is closely associated with progressive metallic and post metal. Bands described every bit art metal include Deftones,[lxxx] [81] Oathbreaker, Champ Their Tongues, Shining, Yakuza, Panopticon, Author & Punisher, Ulver, and Neurosis.[82] The term post metal is also sometimes used interchangeably with art metallic likewise.[83]

Besides metal, artists in more than experimental stone styles began to dabble in art rock. These included bands such as Then I Watch You from Afar and Mr. Boggle amidst others. In addition, some culling rock bands began dabbling in fine art rock every bit well. These include Arcade Fire,[84] LCD Soundsystem,[85] and Silverchair, who adopted an fine art rock approach later abandoning the grunge way of their early albums.[86]

Notes [edit]

  1. ^ The Beatles, the Embankment Boys, Phil Spector, and Frank Zappa all indicated a management that transformed long-playing records into a creative format while variously reciprocating each others' creative developments throughout the 1960s.[20]
  2. ^ For an early example of the stone album format beingness used to make a cohesive creative statement, writer Scott Schinder refers to the album The Embankment Boys Today! (1965) and its "suite-like structure", consisting of 1 side of uptempo songs and the other of ballads.[27]
  3. ^ In March 1966, Wilson called Pet Sounds "a more witting, arty production ... it's like I'm right in the golden age of what information technology's all about. ... The folk affair has been important. I retrieve it has opened up a whole new intellectual bag for the kids. They're making "thinking" records now. That's actually what it is."[45]
  4. ^ Carys Wyn Jones observes that Pet Sounds, the Beatles' Revolver (1966) and Sgt. Pepper, and the Who'due south Tommy (1969) are variously cited as "the outset concept anthology", usually for their "uniform excellence rather than some lyrical theme or underlying musical motif".[9]
  5. ^ In late 1966, the Velvet Hugger-mugger's principal songwriter Lou Reed praised Spector, crowning his "You've Lost That Lovin' Feelin'" (1964) "the all-time tape ever made". In addition, he wrote: "There is no God and Brian Wilson is his son."[threescore]
  6. ^ Bannister adds that indie rock musicians would be significantly influenced by the "pop" offshoots of psychedelia that includes the later Beatles, the later Beach Boys, the Byrds, early Pink Floyd, and Love.[thirteen]
  7. ^ It is oft cited for its Pet Sounds influence, as McCartney explains: "If records had a managing director within a ring, I sort of directed Pepper ... and my influence was basically the Pet Sounds album."[65] The interplay between the Beach Boys and the Beatles' artistic work thus inextricably links the 2 albums together.[65]
  8. ^ In the Encyclopedia of Pop Music, Colin Larkin wrote of Sgt. Pepper: "[It] turned out to exist no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control."[67]
  9. ^ Pink Floyd recorded their 1967 debut album Piper at the Gates of Dawn next door to the Sgt. Pepper'southward sessions at London's EMI Studios. Fans believe that the Piper track "Pow R. Toc H." would derive from Pepper's "Lovely Rita", whose sessions Pink Floyd were witness to.[69]
  10. ^ Primarily Deftones

References [edit]

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  2. ^ O'Brien, Lucy M. "Psychedelic rock". Encyclopædia Britannica . Retrieved 3 Dec 2016.
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  7. ^ Reynolds 2005, p. 4.
  8. ^ a b Campbell 2012, p. 393.
  9. ^ a b Jones 2008, p. 49.
  10. ^ a b Edmondson 2013, p. 146.
  11. ^ Murray, Noel (28 May 2015). "60 minutes of music that sum up art-punk pioneers Wire". The A.V. Club.
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  13. ^ a b c Bannister 2007, p. 37.
  14. ^ Bannister 2007, pp. 37–38.
  15. ^ Frith & Horne 2016, p. 98.
  16. ^ "Primal Terms and Definitions". Archived from the original on 3 May 2008. Retrieved 16 March 2008.
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  20. ^ Julien 2008, pp. 30, 160.
  21. ^ a b Holden, Stephen (28 Feb 1999). "MUSIC; They're Recording, simply Are They Artists?". The New York Times . Retrieved 17 July 2013.
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  25. ^ Williams 2003, p. 38.
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  • MacDonald, Ian (1998). Revolution in the Head: The Beatles' Records and the Sixties. London: Pimlico. ISBN978-0-7126-6697-8.
  • Perone, James Due east. (2004). Music of the Counterculture Era. Westport, CT: Greenwood Printing. ISBN0-313-32689-4.
  • Reynolds, Simon (2005). Rip information technology Up and Get-go Once more: Postpunk 1978-1984 . Penguin Books. ISBN978-0-14-303672-two.
  • Rodriguez, Robert (2012). Revolver: How the Beatles Reimagined Rock 'northward' Curl. Milwaukee, WI: Backbeat Books. ISBN978-ane-61713-009-0.
  • Rosenberg, Stuart (2009). Rock and Roll and the American Landscape: The Birth of an Manufacture and the Expansion of the Pop Culture, 1955-1969. iUniverse. ISBN978-1-4401-6458-iii.
  • Schinder, Scott (2007). "The Beach Boys". In Schinder, Scott; Schwartz, Andy (eds.). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, Connecticut: Greenwood Press. ISBN978-0313338458.
  • Spitz, Bob (2005). The Beatles: The Biography . New York, NY: Piffling, Brown and Visitor. ISBN1-84513-160-6.
  • Sundling, Doug (1990). The Doors: Artistic Vision. Castle Communications. ISBN1-86074-139-8.
  • Unterberger, Richie (2009). White Light/White Heat: The Velvet Hugger-mugger Day by Day. Jawbone. ISBN978-1-906002-22-0.
  • Williams, Richard (2003). Phil Spector: Out of His Head. Music Sales Grouping. ISBN978-0-7119-9864-3.

Farther reading [edit]

  • Gendron, Bernard (2002). Betwixt Montmartre and the Mudd Club: Popular Music and the Avant-Garde. University of Chicago Press. ISBN978-0-226-28735-5.

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Source: https://en.wikipedia.org/wiki/Art_rock

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