These works, as well as may others in progressive rock, ended up in nowhere land: too complex to be considered rock, too rocky to be considered academic music.īy 1974, established bands were already sensing that changes in the music industry were soon to arrive. Both the critics and the public tried to understand these works from the perspective of popular music. As high forms of art-music, they moved away from popular art – thus from the essence of rock. As already explained in Passion Play’s analysis, both “Passion Play” and “Tales” had one thing in common: they were written with the intention to create a high form of art, disregarding commercial considerations. 16)Īllow me a small digression: the reason why these albums were not well received had nothing to do with the fact that they were concept albums. “led to the concept album largely being considered “passé” in some quarters by 1974.” (Holm-Hudson, 1980, p. Because of these failures, and quoting Kevin Holm-Hudson from his excellent book “Genesis and The Lamb Lies Down on Broadway”: By the time “The Lamb” was being produced, Jethro Tull’s “A Passion Play” and Yes’ “Tales from Topographic Oceans” had been released and were subject to very negative assessment by the critics and a rather lukewarm reception by the audience. In order to fully appreciate “The Lamb”, it is important to understand the circumstances under which the work was written. With minor exceptions that will be highlighted later, the songs are independent from each other however, the way in which they effectively portray the ambience evocated by the lyrics, gives the whole work a very strong coherence. When you opened the original vinyl edition, the inner-fold contained the plot of the conceptual album, setting the scene for the enjoyment of a series of surrealistic lyrics that have been subject to many interpretations over the last 40 years. The main reason for this, is that what bounds the pieces together to form a conceptual album is not so much musical material, but the story. In this analysis, for the first time, the appreciation of this classic will come more from a discussion of extra-musical elements, than a detailed analysis of the music per se. May we always remember that Worthy is the Lamb.Welcome to the 9th edition of “Classic Choice”. “In a loud voice they were saying: “Worthy is the Lamb, who was slain, to receive power and wealth and wisdom and strength and honor and glory and praise!” God has used this song to bless and inspire His people during these past years perhaps more than any other work I have been privileged to write, for which I will be eternally grateful to Him.” I thought about the music used in the secular song “The Impossible Dream” and decided that a similar musical style would work well with these words. One day I became particularly impressed with the great truth of Revelation 5:12, and I though how effective this verse could be, if only the proper music was used to enhance it. Because the messages were in Spanish, I spent the time during the sermons writing new songs. “In 1970, I was in Mexico City assisting evangelist Luis Palau conduct a series of crusades. Don Wyrtzen wrote the praise chorus, Worthy is the Lamb.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |