There was a time when pop music ruled the world; catchy tunes with simple lyrics  and a four on the floor aspiration . Three guitars and a drum kit, for the most part, comprised  the format with the occassional inclusion of solo songstas and songstresses.   

The music might have been trivial but it was essentially happy; throaway stuff which generations enjoyed without too much thought, until there rose, generally  in left wing  art schools and universities, those with pretentions towards real musicianship  and often, a penchant for drugs. For them, the jolly old pop song wasn't enough, they had the Moog now and various other musical technologies with which to enhance and in some cases completely obliterate the three guitars and a drum kit format.

Catchy melodies were often sacraficed for new time signatures, and insanely long solos interrupted by lyrics, so complicated and profound they could have come from  Wittgenstein himself.

Prog Rock had been born, and if you weren't a fawning fan of the ever more complex compositions of these musical crusaders, you were relegated to the role of teenybopper. You had no right to an opinion on anything. You were  condemmned to Top of the Pops, while those in the know, relished The Old Grey Whistle Test, where real musicians cranked out their symphonic suppositories on an ever burgeoning number of ill tuned instruments.

  

Unsurprisingly,  any strangle hold on such a mass form of entertainment wasn't going to last; prog rock's baloon of pomposity was bound to burst as ever more compositions of absurdity were lauded over by an ever more deluded audience, who had by now destroyed their ear drums on the musical Kool Aid .  

Unbeknown to them, in the real world, there were now  three chord kids beginning to thrash their way through raucous two minute songs, and creating sweaty punch-ups  wherever they played. They had no time for the dancing pixies of prog rock. They wanted honest noise, raw vocals and an attitude that reflected the streets on which they lived, not the rarerified air of Fitzrovia or some ersatz Bloomsbury  Group.    

History tells us what happened next and prog rock in all it's pomp shuffled from the stage and into record collections, only to occassionally resurface when some sixty year old father tried to inculcate his kids into the glories of his misspent musical youth.

By: Kenny Stubbs

From Lucy Licks  Livers.

THE PARALLELS WITH 'WOKERY' COULD HARDLY BE MORE EVIDENT

AND THE OUTCOME WILL SURELY BE THE SAME

IS 'WOKERY 'THE NEW PROG ROCK?

Bootprog

Pretentions

Wittgenstein

Non Conformists were not welcome

A lesson from history

THE BOOT

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Volume 14 Issue 5

The Boot

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History tells us