I also have a couple albums by Graham Parker & the Rumour, who seem like they were the most successful of all the pub rock bands. I mean in the United States.
One of my best friends toured with Graham Parker for a couple of years back in the late 90s/ early naughts. I really need to check him out. I've never been able to get really into any this records for some reason even though I LOVE Costello.
One of my best friends toured with Graham Parker for a couple of years back in the late 90s/ early naughts. I really need to check him out. I've never been able to get really into any this records for some reason even though I LOVE Costello.
I got two of his albums but I can't get into him either. But I figured he must have been kind of popular because he always had a ton records in the used vinyl bin, so I figured he must have sold a lot of records at one time. And I bought them out of curiosity but couldn't get in to him
I got two of his albums but I can't get into him either. But I figured he must have been kind of popular because he always had a ton records in the used vinyl bin, so I figured he must have sold a lot of records at one time. And I bought them out of curiosity but couldn't get in to him
lol. it's probably just that everyone sells them back super quick because nobody can get into him.
Interesting how this thread has splintered off into a conversation about pub rock, which at least in the UK was partly a reaction to the pompousity of the kind of prog rock the likes of Yes and ELP were coming up with. Kind of a 'two-fingers-up' at the classically trained, public school snobbery that looked down on working class oiks as not having the necessary talent to make records (the 'old boys network' undoubtedly contributed too). Pub Rock went back to basics, the Rhythm and Blues of 15-20 years prior and attempted to take popular music back to the working class, blue-collar bars and clubs of East London and thereby giving the London music scene the huge kick up the arse it needed. Not that anyone noticed at the time - Pub Rock was never a great seller - but without it, there'd have been no UK inner city gig scene (Roxy, 100 Club, et al) and therefore nowhere to put these bands on to inspire others to follow suit. Ergo no pub rock, no UK punk scene.
Pub Rock bands - the good ones, at least - were tight as a nun's chuff. Tilly, you mention Dr. Feelgood. They were the kind of band who (at least when they started out) looked like a street gang, the kind you wouldn't want to bump into down a dark alleyway less they'd mug you for your winkelpickers. They had attitude, obviously did speed like it was going out of fashion, played fast, smash-and-grab R&B and looked like they hadn't ever changed, let alone washed their on-stage attire - the antithesis of prog, and the harbinger of punk. Witness:
Personally I can't stand the epic keyboard solos, faux mysticism and overblown panto-esque stage self-importance of the mid-70s proggers. Early progressive rock, however, is a different story, and there's a couple of absolute beauts from the genre I adore, especially:
Which I would recommend without reservation to anyone who likes In The Court Of The Crimson King
Then you cross into hybrid genres, and folk-prog in particular. Think Procol Harum's Whiter Shade Of Pale, expect performed in a caravan with lutes. Such as:
Which is where folk, prog and psych all meet in one cosmic Gallic melting pot. It's utterly fantastic, and thanks to Borve (not a user many of you newer members will be aware of) one of the best 3 albums I've ever discovered in all my years with BEA. _________________ 'Reggae' & t'ing Folk 'n Stuff SHAMELESS RECORD DEALER PLUG
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bobbyb5
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Jimmy Dread
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