Friday, June 5, 2009

Caught In the Act - The Movie/Concert Stage Show




Available for you, our lovely followers of this blog, is the entire 1 hour and 30 minute atrocity of the legendary "Caught In the Act" Styx concert /stage show movie from 1983. This includes the 18 minute Kilroy Was Here mini-movie, starring Dennis De Young as the maverick revolutionary Kilroy, Tommy Shaw giving us his best Mark Hammill impersonation as the young rebel Jonathon Chance, and James Young in a hairball gagging performance as the rock hating despot Dr. Righteous. This is just too embarrassingly stupid for You Tube. Watch it and weep. Link.
P.S. this is an .avi file, Mac users--make sure you have the latest version of quicktime. In case you have problems watching the vid, download the free 3ivx converter
from www.3ivx.com

Thursday, June 4, 2009

The Creation of Tarkus









At Left: Armoured Boredom











I think it went something like this...

Towards the end of the tour, nerves frayed, diets shot, psyches akimbo, final reckonings with a variety of social ailments leaving crusty residue and discomfort in the band members trousers (for they were young men, after all). There had been sniping just the night before in Dorsetshire about how much room in the mix the bass guitar warranted, and an ugly word or two when a particular camp follower bearing certain concoctions had been turned away on orders of one of the men about to have this discussion; he was in the room, calmly meditating, when the door was loudly rapped upon and opened, in barging the other, a furious young man aiming to have it out with his old mate. He hadn’t waited to be invited in following the knock; peremptorily, Greg Lake knew how this would roil Robert Fripp, though he cared not for the guitarist’s displeasure; something else had occurred on this tour, just days before, and young Mr. Lake aimed to address this incident forcefully and forthwith- he had no concern for Fripp’s legendary tantrums and pique.

“Greg, close the door, be a good chap,” said Fripp, from his position four feet off of the floor. It always disturbed Lake to catch him like this, and he knew that it was one of Fripp’s cherished tactics to be “caught” levitating in his room and thus immediately take control of the festivities. You couldn’t get him off of his ass on stage, there he sat for hour upon hour conjuring beauty from his stool while Lake, all alone, tried to make a “concert” a ***SHOW***, but here in his room at the grand old manse the band had rented in preparation for the recording of Poseidon he’d damn well float in the air like some bloody Hindoo fakir! How it peeved handsome young Greg Lake; immediately on the defensive, it was forever Fripp’s arena and he called the parameters of the discussion always and it’s somewhat difficult to argue with a man defying gravity, a full four-feet off of the densely carpeted floor.

“Robert, I’ve a need to speak to you, my good man,” said Lake, and thought- bloody show-off.

“Fine, fine- you know my door is always open to the members of King Crimson. But please- you know I can’t have the public seeing me levitate. My public adores me enough without having to explain my mastering qi gong and refuting the laws of Thermodynamics! I’d heard Lester Bangs was poking around- what do you think he’d make of that, Greg?”

My public thought the obtrusive guest, and images of murder swarmed his brain like purulent fog on ill-lit East End backstreets- You insufferable bastard! Lake slammed the door, and a gust of wind snuffed a line of candles and knocked incense holders flying to the floor. Still, Fripp dangled himself in mid-air, legs crossed in the lotus position and index and thumbs of both hands pressed together in an annoying contemplative pose belying the preposterousness of his little “parlour trick”, as an annoyed Peter Sinfield had referred to this habit of levitation. It used to amuse Lake, until he had been forced to see it “accidentally” several dozen times, coinciding (peculiarly) with when there had been an incident in the band and an audience was required with the great Robert Fripp; Lake could never forgive himself for demanding that a hula-hoop be passed around Fripp when he was airborne, to prove that there were no contraptions or wires helping him to defy gravity. When a visiting Steve Hackett had passed the hoop around the floating form of Fripp and fell to the floor in shock- afterwards forswearing all psychedelic palliatives for months, and getting his own stool for the stage and thus emulating “The Master”- an enraged Lake had stormed out of the room, the first time he had sent Fripp’s Eastern detritus flying to the floor- and Fripp had had his factotum and youthful manservant Chang-wa present Lake with a stiff bill for the destroyed candles and incense. Lake resolved to not pay the damages again, no matter what it did to band morale. It would likely not be an issue after today, anyway.

“Come down off of your cloud, Fripp, I’ll not talk to a man about business who is floating in the bloody air!”

“Gregory...” began Fripp, this interview, truly, in the Court of the Crimson King.

“My name is GREG, d’ya hear me? Me mum called me ‘Gregory’ when I’d filched a biscuit too much at tea, beastly habit hers, ‘Gregory, you’re going to get fat’ she’d say and she knew I’d always had these full cheeks...see here, Fripp, don’t you call me like me mum did when I’d pulled a bounder!”

Fripp smiled, offering a smile both serene and contemptuous. “Well then, Gregory...I’ve a name too, good sir, and it is ‘Robert’. Robert Fripp. NOT ‘Fripp’, like an insinuation, hardly a query worthy of my station- something you’d bark at that classless retinue of harlots you parade into the tour bus night after night...this isn’t a training camp and you’re not my sergeant-major. I shan’t be spoken to like a convict or a common tramp...Gregory.”

Lake eyed the room with all of its pretense and gadgetry, a score of guitars and framed correspondence from several heads of state (all rabid fans) and a cuirassier’s breastplate supposedly worn at the battle of Blenheim by one of Fripp’s ancestors- a general, of course, not some common soldier, who won the day and died beautifully and thus saved all of England for all times- for how could it be anyway else for a Fripp? None of it made a fitting weapon for the plans upon Fripp’s head Lake nursed like a work-gang convict eyeing a particularly nettlesome rock. “All right...Robert,” Lake spat, and despite his self-made promises not to pay for candle and incense damages, he began to clean up after the mess his door-slamming had caused.

“Thank you for your common decency...Greg,Fripp said, and slowly descended to the floor, only stepping out of his lotus after a prolonged kowtow to no one in particular, though Lake did note that a picture of Fripp was on the far wall, taking up the whole of the section from the door to the antique bureaux. My god, thought Lake, surely he’s not worshipping himself, is he? Who the bloody hell was he pressing his head to the floor over, then?

Fripp got to his feet, and stepped into a pair of slippers made for him in Baghdad by a legendary blind-cobbler who reputedly had no name that could be pronounced by Westerners and used chakras to “see” his work with his fingers; Fripp told the story at the most inopportune moments, and Lake had always thought the ungainly looking man only bought the exotic slippers to cock-block him when a particularly lovely girl had come backstage to chat with Greg or the equally handsome Sinfield; Bruford could accept seconds, but for Robert Fripp, it was the tastiest morsel for him alone or everyone would starve. Spite was worth that to Fripp, Greg thought, as a pair of thousand-quid slippers was no more an extravagance than a certain item of his own, which had been insultingly damaged the other night and was a large part of the grievance Greg brought to this impossible boor Fripp. Lake had come to despise his arrogance and longed to burn the slippers and their “chakras” to cinders, ash and smoke.

“Please sit, Greg,” Fripp said, and began preparing tea. He rang a small bell and the Chinese houseboy Chang-wa instantly appeared from behind a silk curtain, whose egress Lake had never quite ascertained; it was almost like the smooth-faced Chinese was kept in his own little corner, constantly on duty, ever ready to appear with guitar strings or fresh pics or, such as now, with a lovely plate of petits-fours and cucumber sandwiches, and several splendid looking hard-boiled eggs. As the houseboy entered, a small Calico cat snuck in beside him, its tail raised as always, entering no doubt to begin a usual round of mischief; Lake shot the animal a murderous look, to which it responded by immediately coming over to his chair. Eyeing him with what seemed to be a smirk, the cat flitted her tail back and forth, slowly, contemplatively, almost like the way her owner could antagonize a man simply by the seeming desuetude of his humanity; Fripp and his bloody cat were perfect partners in hauteur and misanthropy.

“It’s very important I speak to you today, Robert,” Lake began, as the cat continued its picket duty at his feet. He thought of kicking it, but that would be extremely ill-advised considering Fripp’s seeming command over the force of gravity; who knew what he might send flying through the air.

“So it is, and I’m glad you’ve come- see here, would you like an egg?” Fripp asked, holding up a perfectly boiled brown egg, something Lake had a weakness for dating back to his working class childhood; no matter his riches, boiled eggs and baked beans would be his breakfast, lying in silk sheets in a Parisian hotel with a naked French model purring next to him, they could keep the ritzy fare and fancy coffee and ripe fruit, Greg Lake was still just a simple English lad underneath all of the rock star trappings. It was something Fripp knew, and which he used mercilessly against the man.

“I would fancy an egg, yes I would. You wouldn’t have an extra cup of tea for your old friend, now would you?” Lake said, and suddenly was very sentimental. His hate disappeared in the simple act of sharing tea with a man he’d known for years.

“Greg, of course I have a cup and saucer here for you- Chang-wa, repair to the storage and secure Mr. Lake an excellent cup for his tea, would you?” And the boy vanished with celerity and returned equally so, a fragile cup in his translucent palm, soon filled with steaming tea which he offered to Lake. Still the cat sat at his feet, staring and waving its tail, like some kind of furry interrogator.

“Excellent tea,” Greg said, and began peeling his egg. It was now or never. “Robert- do forgive me but I’ve something to say. I’m sorry, Robert, but...I’m leaving the band.”

On cue, the cat jumped into Lake’s lap, turning its hind quarters to his face- where, with it’s forever raised tail, Greg Lake now had the Calico’s fully exposed anus directly thrust in his face. As she moved on his chest, the cat’s behind brushed against the lovely egg, of course just as Lake finished peeling it.

“You’re leaving the band, is it? Well, this is serious- but first, aren’t you going to eat your egg? A splendid egg, I must say.”

“Not now- your cat’s gone and got its arse-hole all over it and...get the bloody hell off of me, you miserable cunt!” Lake screamed, and sent the cat flying, Lake then firing the fouled egg in its direction and cursing a particularly foul set of imprecations upon puss’s continued good health.

A slight frown crossed the permanently becalmed brow of Robert Fripp’s head. “Greg...that was a very...uncouth thing to do,” he said, and immediately called for the cat- “Come now, Moonchild, come on, puss, puss...” Fripp said, and finally the traumatized animal appeared, sitting in his lap, purring as if her mission had been accomplished, while Fripp fed her bits of his own egg. Feeding, the cat stared across the room, directly into Greg Lake’s eyes; there was something horribly unnatural about these two, both of them insufferable, arrogant, and always seeming to be putting their ass in your face.

Uncouth...Robert, will you please stop with this show of yours? The press isn’t here- it’s me, Greg Lake. You’ve known me since our school days. And I’ve known you. And all of this business is...what’s the word...affectations. All of it! You’re so full of yourself! And you’re killing my ability to make my own music! I’m sorry, Robert, but- between your arrogance, that cat’s...rectum, and several other things...I’m leaving the band, effective the end of this tour.”

“Tomorrow night, then?” Fripp said, gently stroking Moonchild, not even raising his voice.

“Yes- tomorrow night.” And as angry as he had been, Greg Lake felt an incredible urge to cry.

Fripp knew Lake’s sentimental side and counted on it to force him to his bidding. “But Greg...this is madness. We’ve got this new album to think of- you’ve been well compensated. The shows are going splendid. Your voice has never been in finer form. Tell me...you don’t just leave King Crimson...you’ve been lured, and I’d like to know by whom.”

Then this was the moment, wasn’t it. “Robert...I’ve been talking quite a bit to Keith Emerson since The Nice have been opening for us. What a splendid time we’ve had touring together, haven’t we? Well, I need room to grow- I need to be able to let my creative side fully...erupt,” Lake said, and Fripp stood so quickly from his own chair the Calico barely had time to flee to the floor.

“You’re leaving me for...that ridiculous little man?Fripp exploded.

“He’s a tremendous musician!”

“Gregory- he wears fur-lined capes and Cossack boots...on stage!

“His soloing is truly of a virtuoso- it’s like playing with Horowitz, only the chance to combine with rock music and...and...change the bloody world!”

“You want to leave King Crimson to play with a magniloquent dwarf who makes love to his synthesizer on stage every night, and forces his ‘groupies’- how I despise the word- to call him ‘Mr. Emerson’ while he urinates upon them? An utter cad, for god’s sakes he thinks Aaron Copland is in the same stratum with Bach! Pshaw! I’m stunned, Gregory...stunned.”

“For bloomin’ cripes sakes...you didn’t just say ‘Pshaw!’, did you? NOW do you see why I have to leave this band! Your pretentiousness is crushing, Robert- crushing! And what do you know about Keith’s sexual habits, anyway?”

Fripp finished his tea and ostentatiously turned his back to Lake, to the far window, done in crushed purple velvet crepe and rumored to have once hung at Versailles. Pondering his opulence, Fripp spoke in a quiet voice to the source of these awful rumors- “Ruined girls have fathers, you know,” he began, earnest and sad, “and some say knives have edges.

“Don’t go quoting Shakespeare about some tart who got peed on, Mr. Fripp! So Keith enjoys a little risque fun- a bit of the old waterworks, indeed! We’re rock stars, Robert! This is what we do! I spent years inside while my mates were out playing football, shagging the bits of stuff back home...while I missed out on all those birds, all of ‘em I gagged over, oh how I longed to get in their kits...you certainly remember that part, don’t you, Robert?”

Fripp turned around, stung by the vulgar low-blow. “Mr. Lake, I’d like to remind you why King Crimson was formed- or have you forgotten how disgusted we both were when that last Donovan record came out? My intentions were to take popular music in wholly different directions, liberate musicians from by-rote chores of writing, free them from three-chord dogma, utilize all the musical history the West provides us...and it would seem you were merely here to pop fannies and go off with some miscreant midget who confuses the loo with his latest Lu-Lu! Keith Emerson! As if you don’t have enough musical freedom here, with me!”

“But I don’t, Robert- and you know that! I’ve already spoken to Keith about that idea of mine for an album that will truly tell a story...”

“Not that bloody lunacy about the hedgehog, is it!” Fripp roared, throwing up his arms in despair.

“It’s an ARMADILLO, Robert- not a bloody hedgehog! Bleedin’ cripes! Do you ever listen to anything I say to you? Any idea I come to you with?”

“I do, oh yes I do, Greg Lake,” Fripp began, and commenced a serious and frightening pace across his lush room’s carpet, "and whatever it is, this business about a creature hatched from a volcano and being like a half-track but also having a snout...good lord, what have you been smoking, Mr. Lake! I’ll have nothing to do with such lunacy!”

“You’ll have nothing to do with’...you see, you see! Always about you, and what you’ll have truck with! I think it’s a revolutionary idea! I’ve spoken to Keith and Carl Palmer and he happens to know a first-rate artist, and it’ll be like Wagner always dreamed...not just the music, but the art and the whole production! This will be remembered as the beginning of what made rock SERIOUS music!”

“A half-tracked armadillo blown out of a volcano and fighting creatures from Godzilla movies is going to make rock music ‘serious’, then, is it?”

Lake, suddenly confronted with the madness of his scenario, couldn’t dare blink now- “Yes,” he said, quietly, solemnly, with all the gravity of a surgeon proposing to crack a skull open and tear through an entire personality to get at a rampant tumor.

“You, young man, are mad,” said Fripp, and opened his liquor cabinet for a bottle of Brandy recovered from Bonaparte’s personal effects upon Helena. Such extravagance was the only way anyone could ever tell that this sublimely- indeed, inhumanly- calm man was, in fact, rattled utterly to his core.

“Well, we’ll see who is mad...Robert,” Lake said, certain that for once he had withstood the withering insouciance Fripp wielded like a matador facing a mad bull. But there was one more injustice to give vent this day, one more issue before Greg Lake left this house and went off to become part of the greatest show that never ended...at least until the rampant excess of Prog hatched from his half-tracked armadillo and other imponderables killed said golden goose, many years from this day.

Fripp’s cat had climbed the furniture and jumped into his hands. Once again facing the window, the great guitarist slowly stroked the beast and she purred even louder than before; in the corner, from behind that velvet curtain, the nasal-sounds of an Oriental Zhonghu could be heard, like a dirge for some decayed mandarin’s final moments upon the Middle Kingdom, the quiet as long as the solos festering in Keith Emerson’s brain now that he had the perfect accomplice for his frenzied dreams of creation. A quiet that was just that pronounced, just that insuffereable. Lake wondered again, for the final time, precisely what arrnagements had been made to bring this smooth Asian boy into Robert Fripp’s service, and what infernal contract had been signed in whose blood to make it stick.

“Then this is the end, is it, Greg?”

“’Tis,” said Lake, sadly, as the Chinese music reached a maudlin crescendo.

“This is something you will regret,” said Fripp, and it was enough to snuff Lake’s pity, and remind him of what had pushed him past the boiling point nights before.

“I should think not!” Lake said, and stomped his foot such that the Calico was startled and dug her nails into Fripp’s chest...and a crease of pain thus barely threw askance his formerly placid features. From behind the velvet curtain, the Chinese noted his master yielded in this moment a smile as well- but such a smile as only one from his kingdom could ever espy. The near-hairless lad’s pulse raced with excitement as he pondered his master beyond the slit of the purple crepe, like a god glimpsed through an aperture and in an imperceptible reverie to the triumph of loss and pain.

“Then we shall see...Gregory,” Fripp said, and the grinding Chinese melody stopped as the boy popped the lone string of his instrument in what a more lyrical-minded writer might describe as quite frankly...ejaculatory.

“There is one more thing before I take leave of you, Fripp,” Lake said, returned to hostility and not fearing any more repercussions for this temerity of speaking to his bandmate so “commonly”. “There was an incident the other night when we played here in London- and it’s to do with that damned furry terrorist you’ve clutched to your chest.”

Fripp turned quietly, modestly, his rage a mere rumor behind the facade of cloying civility. “Moonchild, Gregory? You’ve yet another issue with who is, after all, my...only friend?”

“Stop the self-pity, Robert. You’ve friends aplenty- if you’d only to stop to acknowledge they were worthy of your august presence, that is. Yes, you’re damned sure right there is one more issue I’ve with you, and this time I’m not backing down.”

“Speak, Mr. Lake- your preamble to your peroration stultifies and confuses...”

“It’s that damn cat of yours- she came into my room the other night and...she peed on my carpet, Robert!

Fripp merely arched his eyebrows, and scratched the cat more forcefully behind her pointed ears.

“It’s true! There is but one cat in this house, and it is that...bloody thing in your grips, and there was a puddle of urine on my rug and that wretched fluffball is to blame!”

“Your rug, Mr. Lake? Enlighten me; I don’t keep up on former bandmate’s trinkets and baubles.”

Lake turned red with fury, wondering if the cat or the guitarist deserved to die more. “Baubles? Why you smug and supercillious cunt! YES- my rug! My Persian rug- you’re not the only one with agents flush with cash across the former Mandate, Fripp- my Persian rug that cost me a small fortune, and which I use to keep from being electrocuted on the stage!”

“And it’s not for any other purpose, then, is it?” a sarcastic Fripp asked.

“Well, when I’m not on stage...it does remind me of home, I should say,” Lake said, recalling a bevvy of young strumpets from Manchester to Amsterdam who bedded down on his carpet and found that they could be “magic”, after all. Now it was rank with piss, cat’s piss no less, and perhaps fit only for the bonfire. Fripp would pay for the rampant bladder of his nefarious tabby, yes he would.

“Moonchild has her box, and she is civilized perfectly well to pass her water therein, and therein alone,” Fripp said, and then offered what to him was an obvious counter-explanation. “This Calico is civilized. Which is more than I can say for your new friend, the midget Mozart. Perhaps you should speak to him about the source of your ‘wet-spot’, eh Mr. Lake?”

“What are you implying, Fripp?” Lake roared- although he hadn’t thought of this explanation, and only rejected it so as to not yield a final time to this imperious twaddle of his erstwhile bandmate.

“I’m merely pointing out the obvious- a certain keyboard-humping vulgarian with an appetite for humiliating schoolgirls obviously has had access to your thoughts, so why not your room? He’s marking his territory, Gregory; and one might say he’s formed ‘Emerson’s Lake’ right on your very own rug, you traitor.”

“Your arrogance has no bounds, Fripp,” Lake said.

“Though not as boundless as your folly, Mr. Lake,” Fripp said, and released the Calico to the floor, where she dissapeared behind the curtain.

“I didn’t want it to end like this, Robert,” Lake said, already figuring out the cleaning bill that somebody was going to pay for his beautfiul Persian rug.

“Please, your emotionalism is unbecoming, Mr. Lake. Waste not your energy on sentiment when there are half-tracked armadilloes and their adventures to conjure.” And Fripp poured himself another glass of Napoleon’s own Brandy, of a significance gleaned only by the lone, young, hairless and frightened Chinese hidden behind his curtain, deep within Fripp’s closet.

“I’ll see you in the Top 40, Fripp,” Lake said, and turned to leave.

“I don’t think you’ll need to worry about that, Mr. Lake,” Fripp said, and downed the nectar in a gulp, certain that the delusional boy having left his company would never understand what riches he was giving up to go make records with Keith Emerson. - TR

Tuesday, June 2, 2009

Pink Floyd- The Wall




Pink Floyd- The Wall

Harping Conscience: So, if it isn’t the great Curator at work on yet another of his diabolical reviews!
The Curator: Excuse me- but I don’t have any change. Shoo.
HC: Enough with your misanthropic dilly-dallying! I don’t want your bloody change! I know who you are, and I know what you’re about, bub!
TC: Psychic then, is it? Then you’ll know what finger I’m offering you without me even having to extend it. People like you could save me a lot of effort!
HC: Blast you, you fiend! Insult me as you will, but I want to know what intrigue of the page you’re conjuring today, oh-so-mighty Sacred Cow slayer!
TC: You really want to know then, is it?
HC: By Jove I not only want to know- I damned well demand it!
TC: All right- it’s one of my least-favorite albums of all time. One I truly think should be hated in proportion to its legend- and thus let me begin by saying that this album should warrant an infinity symbol next to its title to fully express my disgust- nay, rage- at the ongoing status of “classic” attached to this wretch.

HC: Damn you man! Enough with this preamble and muddle- to the meat then, to the meat! WHAT album are you slandering this time, you desiccated child of Baal?
TC: It’s Pink Floyd- The Wall.
HC: !!!!!!!!!!!!!!
TC: I can always count on you guys from the Prog debate rooms to react with such grace and proportion.

HC: This time you’ve gone too far, Mr. Curator! First the Baby Jesus and all forms of religious expression merit the vile swift slaughter of your rhetorical cutting blade; then your merciless attack on short people and Keith Emerson!
TC: I hardly think an “and” is warranted when discussing my loathing of the two, but go on.
HC: Your supercilious hauteur and lacerating wit may fool the frauds and pimps who lurk in the post-modern bowels of wicked Gotham, but I, sir, am a true American- from Kansas!
TC: How very fitting. This is your own “Song for America” then, is it?
HC: You, you, you...nihilist!
TC: Slay me with your scorn like rapiers slashed ‘cross the brutal twilight, Cicero.
HC: ...stop it! Admittedly, you were close to the mark with Tormato, and very few could disagree that Jethro Tull’s later oeuvre was somewhat...dispirited.
TC: In other news, Dick Cheney is evil and the current Pope a Nazi ass-clown. Your point, Jayhawk?

HC: My “point”, sir, is that your lugubrious musings and overheated writing style mark you as an attention whore of the first rank, and that you are clearly out for ratings!
TC: Hmmmm, “attention whore”...well, I do have a Stickam account...
HC: Aha!
TC: ...but that’s only for the underage tittie shows in the chat rooms. No, you glowering buffoon, you’ll have to do better than that to convict a man who rejects all of society’s stifling morality for the crime of impiety. I’d pack a lunch if I were you.
HC: Well let’s start with this- malignant narcissism!
TC: Great. I was hoping we could shift the discussion back to Roger Waters.
HC: Oh aren’t you the basher of all received wisdom and destroyer of all tradition!
TC: If only I had that power; ‘twould be bad news indeed for the likes of you, William Jennings Moron. Alas, I have only my sorrow that an abortion like The Wall is afforded status of a classic album...when it isn’t even a GOOD one!

HC: Defend that statement, perfidious one!
TC: So I shall. This is why I like the format of the Socratic dialogue; I can construct all the straw men I want, and then merrily traipse through the text lighting bonfires of allusion and scorn. Watch the corn puppets burn, Jayhawk! But The Floyd has done me one better; they conjured themselves as the very image of the corporate rock band, one of almost inhuman detachment from their fans, the general public, and the notion that just perhaps every notion Roger Waters scribbled on a cocktail napkin at his exclusive London club was not the greatest idea ever hatched from the febrile brain of rock creation.
HC: You merely use impressive-sounding verbiage to hide the fact that your arguments are pure vitriol, your diatribes expressions of the most infernal prejudices with no rational backing!
TC: And you use exclamation points like they were being rationed for Noah’s Flood. Can’t you PRIC guys ever just settle down and learn to laugh a little?
HC: PRIC? What manner of abbreviated enmity be this, blasphemer!
TC: PRIC- the Progressive Rock-Industrial Complex. The guys over at certain boards who sit around in darkened rooms declaring which band is Prog, which band is not; which music is “classic”, and which music fit for the potash pile. Hidebound and of an arch-conservatism fit enough to make a Hapsburg wince, the Prog-Industrial Complex thinks everything fittingly obscure is “indispensable”, that any record that was printed in a run of under 1000 copies and bartered at a trade fair in Shrewsbury, 1967 is “classic”. They, like Sisyphus, elevate the rocks at the order of the gods- but unlike Camus’s hero, they do so not to lower their Olympian tormentors, but rather to appease and placate them!

HC: What in the name of Greg Lake’s Persian Rug are you talking about???
TC: The PRIC is to blame for the obstinate refusal of Prog to question its roots, the “classic” era and the “monster” bands; like the Bolsheviks in the years before Stalin, they had a chance to study the recent past and learn from the mistakes. Instead, they shoehorned fact through the obscurantist funnel of ideology, and found a “theory” to account for everything but their own blindness!
HC: And this relates to Prog how, precisely?
TC: For their sorrowing shaded intellects, the Old Bolshies- and all of Russia- were rewarded with the titanic evil of Stalin. By refusing to question why certain bands are revered to such egregious extent, the PRIC allows the general public to continue to think of Prog as nothing but these “holy grail” bands, and thus strangles in its cradle a music that I have great and long-cherished love for.
HC: So, your central point here is...
TC: ...that Rick Wakeman is as bad as Stalin.

HC: Surely you will burn in Hell, sir, for your flippancy and detachment.
TC: Yawn.
HC: You’ve the insouciance of a sleep-walking child killer, you poltroon.
TC: Ah, but your insult fails to find fertile ground in which to flower in full bloom of enmity! There’s nothing “cowardly” about me, Jayhawk. I write my reviews, post them, sign my own name, offer my own Email address in the links section for any and all who wish to discuss things with me. So far, I’ve received a death threat from a Jew-hating Yes fan and an unrealized offer of a CD from some Christian dude- who apparently lost his nerve at the final moment of doing.

HC: Hardly representative of true Prog fans, sir.
TC: Right-O you are, my man. The Christian dude had guts, up to a point, and commands my respect. The PRIC star chamber who continues to not question the music of Yes, ELP, Jethro Tull, et al, and then wonders why Prog is the most despised form of music in the known world...this is their bounty, their baby, their atrocity. I’m trying to save Prog by forcing people to actually think about this form of rock that is- note the bitter irony- most thought provoking. The PRHOI is triage for a sick genre that needs to have some limbs lopped off, by hatchet, axe, and saw.
HC: You’re sick. Truly, reprehensibly sick. You speak in the language of Prog to belch your calumny and scorn upon it, the methodology of a psychopath!
TC: Save your bluster, oh pontificating one, and let me get back to the point of this dialogue. An album elicits hatred in me to the proportion in which it is held in popular, vacuous esteem. Very few albums are as incomprehensibly loved as The Wall; its an FM radio staple, for god’s sakes! And what is the charm? Has any man ever announced his hatred for women in such a blatant and coruscating fashion- and what’s worse, tuneless!- than Roger Waters on half the tracks of this “classic”? This is not a record- it’s a Rorschach Test on vinyl, and I propose we identify and sterilize future Sado-sexual killers based on their ability to tap their feet during “Mother”!

HC: Are you quite finished?
TC: Hardly! Allow me to show you the meaning of the word “loathing”, you pestering gnat of a naïf: If this album were a novel, it could only be by Norman Mailer; bloated, self-important to an almost parodic extreme, void of humor, ensanguined with platitude, mistaking pure vulgarity for the edgy realism of the true poet, a malaise-inducing torpor of meretricious insight and vertigo-inducing head-shaking; disorganized, rife with 70’s-era archaisms, grindingly dull, intellectually vapid, portentous in a way only a rather-dim school boy could find amusing, and possessor of perhaps the most grimly ironic lyric in the history of rock music: “We don’t need no education”! Hurrah, Waters, you defender of lost causes- and how much do you want to bet he thought he was being “clever” with that, eh?
HC: But what about the classic tracks?
TC: Both of them in the midst of an 81-minute onslaught of interminable boredom, you mean- those “classic” tracks?
HC: "Comfortably Numb" is a brilliant song!
TC: Anthem to all high school paint-sniffers for thirty years now, I can’t argue with you there.
HC: How dark is the world in which you live, Mr. Curator?
TC: Only as light-stingy as the reflection of the popular culture continues to be, my insensate and deceived friend.

HC: There is no hope for you. I only laugh and find solace that no one takes you seriously, and that your ravings are consigned to a dark corner of the Internet where no one will ever read them.
TC: ...Alone, on my mountaintop, with only Truth and Justice- and Good Taste- to keep me warm and alive- like someone else the world once despised in unity of morals and blundering blockheadedness- looking down at the optimists, the buoyant and bright, dancing to the dirge of modernity and kicking up a dust-storm atop civilization’s grave; if you think this is punishment, then please, I beg of you- punish me more.
HC: Heartless and evil- you I pity, sir.
TC: Shouldn’t you be protesting an AIDS-victim’s funeral somewhere, or something?
HC: Good day, sir.
TC: Good riddance, fool. - TR

Sunday, May 31, 2009

Prog-O-Caust 2009! Part One

Timothy and Micah discuss and play the most unholy efforts in this musical genre. Part One can be heard here.

Tuesday, May 26, 2009

Prog-O-Caust 2009!


For the next TWO WEEKS on DJ Micah's Public Sensory Radio, you can hear the absolute worst Progressive Rock ever made as part of PROG-O-CAUST 2009!

Tune in via Radio 23 and join the festivities as we hear from the worst bands from around the world playing music so ambitious you can smell the failure! This next show especially (May 30, 5 to 7 EST) is going to be an absolute goddamn trainwreck. Tell your friends and...SEE YOU AT THE PROG-O-CAUST!!! - TR

Side note: Public Sensory Radio is a podcast as well as a broadcast. You can listen anytime thanks to RSS magic.

Sunday, May 3, 2009

Progressive Hall of Infamy on Public Sensory Radio!

Tim Ready joins me in the first of a series of discussions about the problem of Bad Prog. Listen in to the broadcast here

Thursday, April 30, 2009

BAD PROG IS ON THE AIR THIS SATURDAY!!!


The curator will be making a SPECIAL appearance this week on Public Sensory Radio with host DJ Micah (pictured left), and bringing a ton of goodies in his Bad Prog Sack of Doom!

Show starts prompt 5 pm EST (that's 2 bells here in Seattle), and will feature two solid hours of horrible music and running commentary by arguably the two most arrogant and snobbish Prog afficionadoes in the world. Soviet-era Prog, Christian atrocities, Jacula, and the gayest Satan in the history of the world...it could only be THE PROGRESSIVE ROCK HALL OF INFAMY ON THE AIR!!!

www.radio23.org 5-7pm EST

Enjoy the show! And...if you miss it, fret not, the podcast will be up and ready by Monday following. Cheers, and NO we will not be playing ELP, Yes, or even Styx or later shit-Genesis; this is the alternative underground, baby, and in Bad Prog land, that stuff is ROUGH! - TKR

Sunday, April 26, 2009

Death Threats Issued to The Prog Hall of Infamy!

The Curator is blissfully pleased to announce that- after a lengthy series of exchanges on the relative merits of certain very mainstream Prog bands- a certain miscreant by the name of Kevin Paul Rudd has threatened to "come to Seattle" and "beat the living shit out of you motherfucker". How this has come about I'll try to explain below, but let me say right out in front: The Curator does not fear death, and certainly does not fear it coming at the hands of someone who listens to Yes.

This has been an amazing few weeks with our hero Mr. Rudd. Let me assure you, unless he is the greatest troll in history, this guy absolutely LOVES most mainstream Prog- not coincidentally, music that I for the most part absolutely despise. The trio of mini-album reviews I posted a while back on Yes (q.v.) during a particularly galling and loathsome part of their career somehow filtered back to Mr. Rudd, and he did not take a liking to them. Indeed, he reacted in a way that suggests he may actually be Rick Wakeman's mother. He contacted me several weeks ago with his own reviews for every single Yes album, neatly arranged and typed, and for the most part containing only trivial incongruities of logic and grammar flubs. I was impressed; normally, someone so obsessed with something so shitty is a person of limited intellect and reasoning skills, and generally can be found listening to Emerson, Lake and Palmer records due to a particular kind of feeble-mindedness that makes addressing more complex and beautiful music simply beyond their own mass-market middle-mindedness. I couldn't have cared less about his album reviews, of course, because nothing this touchingly tendentious hack has to say about the "beauty" and "etherealness" of things like Tales From Topographic Oceans (stunningly, his favorite album- my god...) was going to unhinge me from my steadfast determination that Jon Anderson sings like a castrated parrot, and his musings on Eastern religion are enough for me to determine that maybe Buddhists aren't so cool after all. If, indeed, there is Karma and that Karma posesses a whiff of justice to its workings, Mr. Anderson will die and come back as a cockroach, and I will track down that helium-voiced roach and step on him.

But back to the death threat. Things have been getting a tad bit more "heated" over the last few Emails, and this is to be expected; anyone who knows me knows I wield a particularly vicious and acid-laced sarcasm, and that my insults are literate, cruel, and devastating to the recipients- I do vitriol right, man. As well, I do not suffer fools with infinite patience, and when I hate something, I tend to hate it with caterwauling passion and destructive glee; later this summer, I fully intend on following through with the public burning of Styx albums here in Seattle, and I again remind you that I am not kidding. So, with this in mind, as Mr. Rudd continued to defend Yes against all logic, I finally lost patience with him one night, and in a whisky-blitzed euphoria of discord and annihilation, imagined to him a scene in which Jesus Christ returned to Earth and was deep-throat fellated by Jon Anderson, the scene ending with the latter literally coated in demi-god goo from head to toe- and loving it.

Kevin Paul had already mentioned his love of god in one of his letters, and I just assumed he had a Jesus fetish as well; right, as I usually am about twits and their idee-fixes, I was rewarded for my efforts by receiving the first actual death threat I have gotten in years- not since my days as film critic for a Pittsburgh weekly rag, when I got a furious letter following my denuciation of Beverly Hills Ninja, said review which ended with me applauding the death of Chris Farley and proclaiming my joy that he would never foul a cinema screen again with his fat, oafish bellowing and cocaine-fueled "humorous" tirades. It's amazing what people will threaten to kill you over; first Chris Farley and now Yes, for Christ's sakes. Oh well, the death-spiral of the West continues, and I just happen to be here to laugh while it occurs.

Anyway, Mr. Rudd flooded my in-box today with three Emails demanding that I apologize for "mocking God" (I did no such thing; I merely imagined a second-rate magician from Galilee ejaculating buckets of joy into the face of the worst Prog singer ever) , warning me that if I didn't he was going to "find his way to Seattle maybe and we'll settle this shit" (good luck with the Mapquest, Kevvy-boy) , and finishing by demanding me and my "Jew buddy" (I assume he means Micah, who is, indeed, both a Jew and my good friend; and I can't tell you how perfect it is that this ass-clown is an anti-Semite on top of having absolutely no taste- he's the Bad Prog Goebbles, for fuck's sakes!!!) take down all of the offending references to Yes or he's going to "fucking kill U asshole. U took it to far with Jesus and that is the last straw!!!" (All spelling courtesy of Mr. Rudd- you can almost picture the whisps of steam coming out of his ears as he types, can't you? Ha ha, my "Jew Buddy"; fucking righteous, dude!)

Well, I've got news for one Mr. Kevin Paul Rudd: not only are the reviews not coming down, but I'm going to find ways to disparage and denounce Yes and all Yes-related side products for the remaining life of this site. AND, you scat-munching troglodyte, I am hereby DARING you to come up from Phoenix (IP search yielded this, again, absolutely PERFECT result) and "track me down" or whatever it was you threated to do, all in the name of Jon Anderson and Jesus's massive cock. Not only that, but since you want to play hardball, motherfucker (I can speak your language too, Tormato-face) I am going to invite visitors to the PRHOI to write to you at your Email addy and let you know how they feel about someone so pathetic they would threaten a human life over fucking Relayer!

kevin_paul_rudd@yahoo.com

Lastly, if this is one you guys playing a prank...I had better never find out about it. I am so thrilled today to have received an actual, honest-to-goodness death threat that any residual depression I may have had from our incredibly unending Winter here in the Emerald City has dissipated to nothingness; joy is my calling card today, Mr. Rudd, and your sorry ass has been the catalyst for this rising of spirits to such estimable heights!

God bless you, Kevin Paul Rudd; now go get your fucking shine box. Cheers, - The Curator

Monday, March 30, 2009

Hobbit Prog: Swords and Suckery
















I don’t know why it is that I hate fantasy novels and hobbits to the extent that I do. I’m not talking Italo Calvino and Borges fanstasy, I’m talking those terrible Robert Jordan novels you see pony-tailed comic book clerks reading when they can pull themselves away from their thousandth re-read of The Watchmen, or on those rare and blessed occasions when they emerge from their basement hovels like albino veal claves, milky, soft, sick from drinking Faygo pop all night and carrying that peculiarly sweet stench the human body exhudes after about a week of 18-hour-a-day gaming sessions. While I identify with the need to recuse oneself from humanity and hunker down with total nerd obsessions and geekdom, I guess I just don’t get the attraction of living in a pre-industrial society rife with orcs and dragons and mighty wizards who can turn me into a toad on their curmudgeonly whim. I guess I essentially just regard as rubbish any cultural past-time that is not one I partake in. This is because I am an elitist snob. Or so I’ve been told recently.


Well, for whatever reason, I don’t like Hobbits any more than I like any other dwarves, and I freely admit that I have one prejudice that I have no intention of becoming “enlightened” about, and that is my fear and hatred of any man under 4’10 inches tall. Who knows what they’re planning and plotting down there? How can you trust someone who has to stand on a soap-box to piss? Demon-seed shriveled and twisted like a bonzai elm, given pitiful animation, dressed in clothes that never quite fit and carrying the hate in their hearts that only a freak could muster, dwarves are disturbing enough to The Curator – but give them pointy ears, a Phrygian cap and a mission to save some large-busted maiden and you have all the ingredients to make me get up and leave a movie theater, and not even bother to demand my money back. I like my heroes frankly more “heroic”, and not the kind of “special people” you see carting books at the Goodwill or holding court at a Waffle House outside of Louisville, Kentucky at 4 a.m. regaling all of society’s other losers with tales about what an asshole Chevy Chase was on the set of Under the Rainbow. So I’m not especially predisposed to remark favorably about an entire genre of Prog where the main characters are like extras from a Tod Browning film and the whole silly mess is scored by those ridiculous zap-gun synthesizers that were all the rage in the early 70’s. This could be a particularly piquant essay rife with nasty gibes and slanders, so all ye denizens faire of orcs and maidens, be ye warned nowe.


It all started with the grandfather of pretentious synth-based Worlds of Warcraft Prog, the great man himself, Mr. Richard Wakeman. Others will no doubt take issue with this selection – there were other LOTR-themed albums before 1974’s Journey to the Center of the Earth, Uriah Heep had put out two very annoying Wizard-themed albums early in their career, and there was even a (very bad) pop act called The Hobbits bandying about lame psychedelica in the late 60’s. Hell, there’s not even a Hobbit or orc to be found in Journey – but there are all kinds of Jules Verne inspired critters that appear in the music, and the overall scope of the work implies a problematic and bookish childhood for Mr. Wakeman filled with parental neglect and numerous beatings on the cricket green delivered by the always-dastardly upper class lads who never picked up a book unless it was to swat their Paki houseboy for serving the tea too beastly hot. It’s a hard knock life, yes ‘tis; and this is why those who are knocked about so deftly by this merciless world retreat to lands of dragons, fascist overlords and natural-forces-warping Wizards, law-by-the-sword and mass slaughter, a world where “nasty, solitary, bruitsh and short” is an accolade and comely maidens swarm in a profusion of bountiful-bodices and who when they kiss you don’t have stale YooHoo on their breath – like in the real world of Geek Love. Escapism sometimes has another name – schizophrenia. And too many dragons in the belfry leads to rabid Python-quoting excesses and eventual diabetes thanks to the inhaling of Ho Ho’s and Red Hot Cheetohs that is the root nourishment of every D&D foraging expedition to the Heart of Darkness that is suburban alienation. Every hero in every proper fantasy ever written is the reader himself. And that kind of chowder-chest navel gazing is futile and deeply sad.


But back to Rick Wakeman. Journey gets the nod in my book for “starting” the “Wizardry” fad (which led inexorably like a galloping unicorn to the Hobbits, unfortunately) because the album is both bloated and boring, in astonishingly just proportions. With an entire orchestra behind him and the game narrative talents of David Hemmings – who is trying desperately to take all of this seriously, like a good English actor should – there’s just enough bloat that you might think a fairly grand time could be had listening to the excesses of nothingness Wakeman pumped out from those keyboards in his career’s heydey like a Grand Vizier doling out the dates and figs to the harem’s ever-vigilant eunuchs. “There’s more where that came from, you sackless-bastards!” screams a contemptuous voice – and this could be both the Mufti speaking to the mutilated harlot-guards or Wakeman to his producer and record label, who obviously had neither the balls nor the common sense to put a stop to all of this bombast before it started putting people out of jobs.


But while Wakeman is the apex of this perversity, hordes of epigones came a-traipsing in the long turgid shadows he cast, many paying tribute to orc-friendly platters spun before. I’ve included in the pictures above not only Wakeman in his ridiculous get-up, but an arguably more absurd looking fellow, Chris Wilson, who moved to Greenwich Village, got an apartment on 8th Street and started calling himself “Gandalf the Grey”. The cover is mind-blowing, and a visceral reminder of everything about hippies that I despise; unfortunately, for the purposes of this article, the album itself is really not that bad. The production is shoddy, and it seems like the drummer was just some guy in the walk-up who they gave some reefer to and told to bang on a snare every fourth beat, but there’s nothing remarkable here, save a few boring moments, and an interesting little hippie-epic (almost seven minutes long!) “Here on Eighth Street” that is eminently enjoyable for anybody who ever dug on the Byrds. But I had to include this relic here, for the album art is surely something Mr. Wilson wishes he could have a do-over on.


Less sanguine are my opinions on forerunners of Hobbit Prog Jan Dukes De Grey (Sorcerers, 1970) and Bo Hannson’s 1971 snooze-fest Music Inspired by Lord of the Rings. Jan Dukes are particularly annoying, more just re-tread psychedelica than anything truly Middle Earth-y, and Hannson may have been “inspired” but this is another one of The Curator’s burdensome listening experiences that led to a torpor severe enough to warrant three hours of Led Zeppelin as antidote following this aural soporific. Man, there is just whole chunks of this fucking album where absolutely nothing happens – NOTHING! Big swooping major-chord empties, indulgences of atmospheric verisimilitude that go on like a bad Stephen King novel, dolorous shifts in structural emphasis that linger like a flatulent mongrel dog, and other stingless-beauties that are meant to be profound and are actually just the nesting roots of the cancerours weed that would someday be called “New Age” – yes, here is inchoate Tesh and nascent Yanni, and a true sign of a Bad Prog album in all its enervating glory. When you are listening to a song that takes five minutes to create an identifiable hook, you know you dwell in the pitiful penumbra that is Tolkien Street in Shit Music Town.


No list of shitty Sci-Fi or Fantasy Prog would be complete, of course, without multiple inclusions of the Yes family of terminally self-indulgent musicians. Wakeman is my favorite Blockhead Merlin, of course, but Jon Anderson can’t be ignored for his appalling 1976 opus Olias of Sunhillow, allegedly based on a series of books that sound suspiciously like Stanislaw Lem – or even the Kobaian cycle of Zeuhl Prog/fascist cult legends Magma. No matter the source material, this is an especially heroic effort of nauseating boredom, even for a shrill little nothing like Jon Anderson. Not only ruining the proceedings with his always waterboard-quality vocalizing, Anderson also decided to play most of the instruments on the record, which goes about as well as the guy who empties the shit bucket at a hospital deciding he’s seen enough to try some brain surgerin’ of his own. Oddly, the results are not dissimilar, as both the amateurly-lobotomized and listeners of Mr. Anderson will find themselves drooling, stupid and permanently damaged to the root of the old medulla oblongata.


By the time Belgian Proggers Machiavel were making albums like Jester (1977) the occult-fad was beginning to die out as a purely symphonic rock exploration. Another one of my obsessive hatreds, jesters and other jocular court fools are presented in most popular culture in a way completely removed from the melancholy and misanthropic carping they – and they alone – were allowed to provide in the courts of kings. Lear’s Fool – probably the best minor Shakespeare character who isn’t plotting to suborn murder or take back the castle in the name of his slain father – is a perfect study in what the Jester really was supposed to be. And it wasn’t what Machiavel had in mind – or the even more superfluous Marrillion, who “brought back” Prog a few years later with Script for a Jester’s Tear (1982), an album that is incredibly interesting to people who have no idea that a man named Peter Gabriel used to front a band called Genesis. One of the more explicit rip-offs and second-rate forgeries of the Prog era, Marrilion was inexplicably huge for many years in Europe and even sold records to Progged-out American audiences still recovering from the fifty or sixty Todd Rundgren projects that had clogged the airwaves during the latter 70’s. And while Marrilion is derivative, Machiavel is just bad – my cohort here DJ Micah is particularly keen on belittling these guys and thought I would enjoy hating their spurious creative output. As is usual on all things Prog, Micah knew precisely what would chafe my chassy and make the cream on the canoli go rancid with bile; Jester is a seriously lame record, the music incredibly boring and the only thing elevating it to alternative classic status being the horrific vocal maulings of Mario Guccio. Still mewing out in his own distinctively shrill fashion some of the most shallow lyrics of the Prog era, 30 years later and Signor Guccio stands to have his own wing at the PRHOI, with masterful rapings of poor Terpsichore both his crime and entree to these virtual halls where justice at last shall be done to bands as bad as his. Not even recommended for shits and giggles, Machiavel is just a big fat nothing and as frustrating to listen to as jacking off while on Prozac.


While the Seventies were indeed a time of orotund effusion and pointless orc-gasms, the end of the Hobbit Prog experiment roughly coincided with the demise of “classic” Prog itself. When one of the original and arguably greatest Prog bands – King Crimson – re-emerged in 1980 with a completely different line-up and jazz-influenced fusion sound, the great era of wretched excess ended and even Yes decided to make a “pop” record – hiring a guitarist 20 years younger than the rest of the band and stinking up FM radio for the bulk of 1982 with 90125. With this ending, a new flourishing was hoped for by fans who had seen the music become bloated and boring, albums suppurating with the pus of ego and the cancer of hubris. Perhaps, when Prog inevitably re-emerged from its hiatus in a few years, the music could get back to its original arty roots without all of the bombast that had wrecked the whole party from the moment Keith Emerson’s grand piano was lifted off the stage and spun around over the audiences head – with Mr. Emerson still playing the thing, of course. That hope was decidedly dashed by the skull-fuck-of-doom emergence that was Neo-Prog – a sub-genre that had a particular obsession with orcs, druids, ensanguined fields of medieval slaughter and other fun-time masturbatory enthusiasms of the young guitarists who sought to take the technical excesses of Eddie Van Halen and combine them with the wretched obscurantism of Jethro Tull.


We’ll cover the excrement that is Hobbit Prog: The Metal Years in part two of this essay, which is below. - TR

Hobbit Prog Part Two: The Metal Years




















In Twilight of the Idols, Friedrich Nietzsche expounds upon one of his more interesting concepts: that of “instinct”, and the idea that the highest level of human achievement is to do things with consummate skill and complete unthinking; the notion of the greatest genius being perhaps reflexive in his genius, simply creating by some unknown and unteachable force that shows itself in the seamless beauty of a truly epoch-defining work of art.


Perhaps this is why so much of Prog-influenced Metal is such irredeemable gobshite. For years I wondered why I wanted to hurt babies and urinate on flowers when I heard Yngwie Malmsteen, and I finally decided that it was because his perfection was literally inhuman, that for all the man’s ability to “shred” and pound out hundreds of notes in a single guitar solo, the antiseptic flawlessness of his sound and musical execution (savor the aptness and beauty of the word) marked him as essentially soulless, with the evanescent beauty of a well-pancaked debutante and the ice-cold clarity of a novel by Robbe-Grillet. This is the music of an over-heated artisan, not the insight of a slightly imperfect visionary. Disconcertingly anodyne like a corporate stand-up comic and exuding all the ardor of a Mormon stripper, technically precise music like Malmsteen’s Fantasy-influenced Rising Force or Odyssey are as well-honed and unforgiving as a particularly efficient firing squad. This is Eichmann-rock, too banal to be evil, the work of a slavish bureaucrat who knows his file card system down to the last gassed Jew. Playing with the full chill of the Baroque and none of the delight and whimsy, it is fitting Malmsteen obsessed over Paganini but seemed to have no place in his vast fretting-vocabulary for Mozart. The result is some of the most inhuman music ever made. It is also anti-instinctive, obsessively rational, the exact opposite of the Nietzschean genius for natural improvisation that makes Robert Fripp probably the most interesting guitarist who has ever lived.


Alas, the cold killer Malmsteen is also without question the most influential Metal guitarist of the last 30 years. If only Dream Theater had listened to a little more Zeppelin or Van Halen when they were teens, perhaps they would have learned the art of self-deprecation and not trying to make THE MOST IMPORTANT ALBUM IN THE HISTORY OF FUCKING MUSIC and doing so every goddamn time these pinheads decided to masturbate all over a studio somewhere. I start with Malmsteen because I loathe him, and the whole appalling history of Metal Hobbit Prog would have never existed without the implacable scythe Malmsteen’s Razor; as Solzhenitsyn remarked of the Gulag, “a hand more unrelenting than Death.”


Ghosts, goblins, doom and death litter modern Metal like family secrets after a tornado; you never knew that your neighbor had a massive child pornography collection, that is until a twister came along and vaporized that little shed at the back of his property that he always swore was a “root cellar”. And while a smooth-Cambodian boy obsession can be pretty embarrassing to a church-goin’ type, I can’t imagine it would be any worse than if somebody found out I had the entire King Diamond discography on my IPod. (I don’t; this is simply for illustrative purposes) The Hobbit Prog of the 70’s had a quasi-charm that allowed for mirth even when it was completely ridiculous; the maddeningly violent and astonishingly fascistic “fantasy” Prog that exists to this day is an indictment of Les Paul for ever having the thought of plugging a fucking guitar into an AC outlet.


The problem is that most of the 80’s “Fantasy” metal bands with an obvious Prog influence are just flat out psychopaths who would make great serial killers if only they had the guts to stop their lippin’ and get to slittin’. Of course, like most poseur Mansons, this is not likely to happen, as acts like King Diamond and Cannibal Corpse are obvious put-ons and about as scary as re-runs of Sesame Street. The fact that there is also no musical value to any of this shit is actually a relief; I sure would hate to be a closet admirer of a band whose albums include Eaten Back to Life and Tomb of the Mutilated. Jesus Christ, can you imagine how much better this world would be if every “alienated” teenager who threatened to kill himself after listening to this garbage actually did it? The decline in sales of Windows-based PCs and black eyeliner alone would make this mass self-kill-off a worthy goal.


After the “murder metal” fad ran its course, true Hobbit Prog staged a comeback – unfortunately – and this avalanche of noise is a threat to this very day. Bands got back to their Middle Earth roots, stopped singing about the pleasures of necro-coprophagia, and started making good old fashioned shitty records about Tolkien, armored midgets and imaginary flying reptiles. It’s the simple pleasures that make sure Rock n’ Roll is here to stay, big daddy.


Blind Guardian is a particularly atrocious example of “orc metal”, a bizarre sub-set of Hobbit music and one that must be considered “Prog” due to the ambition of the concept storylines, vaulting overkill of musicianship and general bombast of production which, though rocking like a hurricane, is all Rick Wakeman at heart. There are numerous metal bands who seem to do nothing but write about Hobbits and such; the wonderfully named 3 Inches of Blood (think about the implications of that name for a second – oh, there’s some phallic inferiority demons being vented there, I tell you) has carved a career out of Middle Earth, coming from Canada (of course) and bringing the only challenge to the aforementioned Blind Guardian for the title “Most Ridiculous Orc Metal Band Ever”. Devolved from a common source – all of this stuff is born of kids who listened to too much Ronnie James Dio back in the day – listening to Blind Guardian’s Nightfall in Middle Earth was one of the more painful experiences of this project, and the less said about the anthemic vocals, turgid storyline and general idiocy of the whole mess the better. 3 Inches on the other hand was doing fine until the guy started “singing” – this is a band that was raised on a combination of Slayer and Iron Maiden, and you know there’s really nothing wrong with that. The singer though...no album has gone downhill more quickly with the introduction of a vocal track since my quasi-religious experience with Paul Gaffey’s Mephistopheles (q.v.). I just can’t listen to stuff like this, and with tracks called “Destroy the Orcs”, “Heir to the Chaos Throne” and the final insult, “Balls of Ice” (guess what that one’s about) I’m going to have to beg out of my oath to listen to at least two albums by any artist before I go on with my shattered life.


What is interesting about Guardian is that the music is very “gay”, while at the same time being of that mock-heroic mold that pegs it as pseudo-Wagnerian and, therefore, overtly fascist. As long as the combination of frustrated teenage homosexuality and music that is essentially power-chord updates on the “Horst Wessel Lied” goes on without intervention by parents, teachers, and perhaps the military, Democracy will continue to die as a system of government, Humanism will give way to pagan barbarism, superstition will rise and thwart science, witch burnings will return as a feature of this new proto-Troglodyte world, and the eventual end of Western Civilization will be a mere matter of time. You think I’m kidding. I found this album at a Chilean blog called “AngelsHolocaust666”, and am pleased to note the existence of Dylan Klebolds and Eric Harrises in South America, fueled with overwhelmingly militaristic music and worshipping Old Scratch himself. This album was so relentlessly violent and bloodthirsty I had to put some Dan Fogelberg on afterwards just to cleanse myself of all that Ernst Rohm-testosterone, then settled back and forced myself to think about men in Speedoes, little dogs in carrying bags, brunch, and other somewhat less violent gay outbursts to calm the frenzy all this orc killing had engendered in me.


There’s no point to going on and on with all of this critiquing – it’s fucking heavy metal, of course its mindless and knuckle-draggingly banal – but there is one “wild card” of a band that is both horrible and Prog influenced – and nowhere near fitting the pattern of Metal Hobbit that has reduced me to fits of apoplexy and tears the last few days. This is the overtly Medieval stylings of Glass Hammer and their supremely silly Middle Earth Album. From start to finish, it’s orcs and trolls, dwarves and ballads – and is a uniquely annoying indictment of LARPers and a strenuous argument for enforced eugenics and mandatory abortions. Coy, cloying, faux-bawdy and filled with the supposedly-entertaining antics of a room full of madrigal-singing ye-olde-ale- sippers, this is the one album you want to play in the nursing home over and over again for that one uncle who was always trying to molest you when you were a kid. Because this is the torment of Tantalus crossed with the labors of Sisyphus; and I stopped rolling that fucking rock after about four songs. It has been rare that I have not forced myself to listen to an entire album before dismissing it as trash fit for modernity’s bonfire, but this doggerel-and-pony show of these Renaissance rejects is the one truly interminable album I had to suffer in wading to the very depths of Hobbit Prog. I take no responsibility for any who read this review and then go listen to it, just to “see how bad it is”. Knock yourself out, Proganauts, but the PRHOI is announcing right now it is not responsible for damaged laptops and the self-mutilation that will surely follow a full listening of this album.


We have now covered the quasi-history of Hobbit Prog, and I for one am resolved to never listen to any of this shit again. Remember, here at the Progressive Rock Hall of Infamy, we suffer so you don’t have to – don’t be stupid and not take The Curator’s word on these records. Because this might be the most ridiculous sub-genre of Prog I have ever investigated. - TR