Discussion in 'Music Corner' started by Rafael Blues, Jan 2, 2020.
Status Quo - lightweight 60s pop-fluff to 70s denim-clad boogie monsters to 80s synth sh*te.
Corrosion of Conformity - hardcore to one album of kinda hair metal to southern-stoner rock.
The Byrds - folk rock - country rock - beard rock.
Big Chief - second-tier grunge to full-on funk rock.
+2 for the Big Chief and COC references.
Stone Roses - Goth beginnings to Byrds jangle pop rock to funky baggy shuffles to Led Zep indebted rockers then to nostalgic reunion crowd pleasers.
The span of less than ten years which saw Simple Minds transform from the band who made this to stadium celtic rock embarrassments is still really something
The leap from the first to the second and third albums (this) is also remarkable.
I like the "Celtic rock"of 1989 too though, I was never sure why something has to suck just because it's different (and vastly more successful - a clue there).
That said, the original band had an incredible chemistry and productivity and made the most innovative music issued under the band name Simple Minds, and it's a shame a lot of people still don't know that era (say, up to 1981).
Soft Machine hands down! Did a complete 180 in sound and composition, going from Canterbury type progressive psychedelic rock (think Syd Barrett Floyd and Caravan) to the heavy jazz fusion 3rd and onward.
Same way that the Californian counterculture hippies grew up to be businessmen and software developers.
Mirrors the arc of Jefferson Airplane's career pretty close...from homegrown and anarchistic to bloated, corporate and cocaine-fueled.
Maybe they were just the hipsters of the day.
Filter went thru one of the most dramatic and disappointing changes ever. From Industrial to crap in 5 short years.
Fair enough, but Slick, Kantner and Balin and several others from Airplane were in the version of Jefferson Starship that produced "Miracles", for example, and you would never know it just from listening to the song.
From collaborating with Robert Ashley on his debut (Explosions, on ESP-Disk) to..."Take Me To The Mardi Gras" and the theme from "Taxi."
I've always wanted to play "Concierto de Aranjez" and "Rated X" back-to-back for someone utterly unfamiliar with Miles Davis just to see if I could convince them that both pieces are by the same artist:
Miles Davis - Rated X
Speaking as a detractor of that era of the band, it's not the success that is the issue - otherwise, that would have made something like New Gold Dream a no-go area. I can semi-stomach the Once Upon A Time period, but Street Fighting Years is simply the band almost unrecognisable from earlier in the decade - overlong, bloated, pompous, folky, earnest, a mess of post-Live Aid self-importance. Regardless of one's personal opinion on Street Fighting Years, surely it's not difficult to hear why something like Belfast Child or an 8-minute cover of Biko might be by this stage too hard a sell for someone who came in with I Travel?
Anyone mention Paradise Lost? (maybe @Dudley Morris might have). They went from doom metal to Depeche Mode synth style stuff to something in-between the two.
Aerosmith - 1970s vs. 1990s
Similar path taken by bands like Amorphis and Anathema and Katatonia and others as well
Coldplay. Although their lately released album Everyday Life is surprisingly good, fits better as the real successor of Viva La Vida.
See, I don't hear it like that. That's the common criticism, that political lyrics is somehow the same as bloated self importance. But mostly in the case of Simple Minds. And in the 80s. You've summed up the whole of U2's career for example, but in their case (or Peter Gabriel's) it's somehow ok.
I hear a beautiful, LOW KEY, meditative album full of Mick MacNeil's scenic soundscapes and Charlie's wonderful slide guitar playing. It's by far less bombastic than New Gold Dream.
Granted, the tree political songs on side B are my least favorites.
Simple Minds were unrecognizable between album one and two. And between album three and six. And between album six and seven. And so on; they changed gear many, many times.
And I love them both.
A good example of a band that drastically changed was Black Sabbath with the departure of Ozzy. Iommi said in an interview that Dio had such a different style of Ozzy that he had to change his playing style to match Dio's singing.
From anarcho-punk to annoying one hit wonders
And then to acoustic folkies. Good stuff from this iteration of the band.
Not one hit wonders in the UK, of course.
The Jam - compare their first single ('In The City') to their last ('Beat Surrender').
Small Faces - compare their work on Decca (1965-67) to their work on Immediate (1967-69). Vastly different.
the cure over and over.
the very elemental guitar/bass/drums from "killing an arab," to the atmoshperes of "seventeen seconds" and "faith," to relentless mania of "pornography," to the dance/drum machine beats of "the walk," to the layered and complex huge sounds of "disintegration."
But you're applying a lot of judgements that are your opinion - self importance and all that. You're not listening to the music, you're passing moral judgment.
Separate names with a comma.