I pulled out Yes’s Drama last week on a whim; it’s always been the only Yes album I’d ever pull out, but something warm and magical has happened: it turns out that I love it. Just like an REO Speedwagon ballad, I have found love and it was - gasp - with me ALL ALONG! Sigh. Just buried in my shelves. And now, like any other fool in love, I am going to talk about it ALL THE TIME. My true friends will weather this storm. The rest of you – well, we’ll see.
I have a deep love for a very specific and short period in musical history – I don’t even think it has a name. Let’s name it right now: it’s When the Prog Rockers Got Real – Just Before They Got Plastic*.
In and right around 1980, several bands from the Progressive Rock age grew up and laid off the mushrooms. The result was a tiny period of very good rock music, where technical proficiency was still central, but the massive energies in King Crimson, Genesis, Rush, and Yes were boiled down into greatness, rather than sprawled out in pomp and crapenstance.
Let me state for the record, if it isn’t already obvious, that I hate Progressive Rock. If you don’t know what it was, well: right after all of the mind-expanded hippies lost their innocence (in 69, with Altamont, Kent State, bad acid, and lots of death) some of them retreated into this very British, very thumb-sucky music. Progressive Rock had pauncy pseudo-intellectuals imagining that the division between Classical and Rawk musics was “just a construct”, so they tried to smoosh into one wonderful thing.
Of course, they were all still really into drugs, and now really into escapism, so the music they came up with was faux-classical, faux-intellectual nonsense for nihilistic stoners, generally concerned with lyrics about new age crystal magic and the Lord of the Rings. Songs were 30 minutes long, which in rock music is always a mistake.
There was, as there always is, some bleeding between the scenes; Zeppelin certainly had large bits of this nonsense mixed into their ultra-blues. The Who were on dumb and similar tangents of their own (Tommy, anyone?). Pink Floyd proved to be ahead of their time, and so settled into the Royalty section of the scene. Even Styx and Journey made long instrumental pseudo-something-smarter music in the mid-70s.
The good thing that came out of Prog Rock’s Classical aspirations was that playing was really important – technical proficiency got a big spotlight. That’s why you hear the many, many solos on any of the Live Albums from the 70s. That’s where the big drum sets and banks of keyboards and double- and triple-necked guitars came from – these guys were so good that they just couldn’t express themselves without an entire music store around them.
(The other good thing about Prog Rock was that it set Punk Rock in motion – guys and ladies who were offended by the way music had become something for experts to do, who noticed and hated that the spirit of rock and roll was buried and suffocating under all that fat.)
Now I don’t approve of this silliness anymore. Seems to me the truly great guitarists have one or two they love and play, and that a smaller kit is a better way to watch a drummer shine, and really, you hardly ever need a bass solo. But if you grew up in the 70s, especially if you were a guy, the technical proficiency was really something to admire. I’m sure it remains important in some subscenes, but then it was pervasive. (To give context, I became a teen in the early 80s – so punk had already happened – but I was in a small town in Ontario where punk was pretty much a myth until 86 or so.) Playing ability was what we listended for, compared, and charted on lists of our favourites. Being Canadian, of course, the Best Drummer, Best Guitarist and Best Bass Player were always Neil Peart, Alex Lifeson, and Geddy Lee. I still admire proficiency – it’d be weird not to, I think.
But I secretly hated the long songs; I still hate them. They were unfocussed, they were pretentious, they were boring. On the radio, however, as opposed to on the record player, were some very focussed songs – the post-punk singles-based era had arrived in Sarnia before punk did, naturally – and I loved the radio of the early 80s, with Tom Petty at his best, played right before Thomas Dolby and the Human League, followed by Journey and Rick Springfield, leading into Steely Dan. That was fun radio. So I straddled these two worlds, shamefully appreciating the lighter one more.
THEN, THE MAGIC.
This period we’re now calling When the Prog Rockers Got Real Just Before They Got Plastic (WTPRGRJBTGP) came along. It was a very happy medium between post-punk brevity and prog rock proficiency: Genesis recorded Abacab, their best song and peak. Rush ditched the dragons and put out Moving Pictures. King Crimson got interesting, finally, and did those stellar records with Adrian Belew – Discipline and Three of a Perfect Pair especially.
And Yes lost their ridiculous-little-angel singer Jon Anderson (whose singing may be best understood by tiny birds) along with Rick Wakeman, possibly the most annoying keyboard player in the universe, and merged with a weird British synth band called The Buggles. You’d know them best, if at all, for the tune “Video Killed The Radio Star.” THAT new band put out Yes’s best record, which I am in love with, called Drama.
Does it Really Happen from Drama.
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* Plastic? It was the 80s: everything got plastic. I think specifically of (the campily enjoyable but less than good) music of Asia, Yes’s 90125, Genesis’ Invisible Touch, etc.