intendo a livello descrittivo più che nelle definizioni/distinzioni
ho rovistato un pochino negli articoli di John Rockwell, non perché sia un suo fan ma perché è uno dei pochissimi nomi davvero importanti dell'epoca con possibilità di accesso online in maniera abbastanza dettagliata; o meglio, si può consultare una parte di quello che ha scritto perché, tra le tante cose più o meno sotteranee, si è occupato di musica, per molto tempo, sul New York Times che, avendo milioni di lettori, ha un corposo archivio consultabile in rete
tu lo conosci, anche perché immagino che questa descrizione
(d'altronde già nel 77 Rolling Stone etichetta i Blondie come "progressive pop")
arrivi da un suo articolo
su OR sito l'ho visto già citato, sul forum pure, metto comunque una bio veloce:
John Rockwell was born in Washington state, and was raised there, in Berlin, and in San Francisco. After his undergraduate studies at Harvard University and the University of Munich, Rockwell received his PhD in German cultural history from the University of California, Berkeley. From 1972 to 2006, he was a journalist at the New York Times, where he served as a classical music critic, chief rock critic, classical music editor, and European cultural correspondent. Rockwell has also pursued several independent projects. He was the founding director of the Lincoln Center Festival, where he worked from 1994 to 1998, and is the author of several music, film, and cultural review books, among them Outsider: John Rockwell on the Arts, 1967-2006 (Limelight Editions, 2006), a collection of his best pieces that the Times has called “judicious, knowledgeable, generous and balanced.” Rockwell returned to the New York Times for four years in 1998, as editor of the Sunday arts section and arts columnist and, in 2005 to 2006, as chief dance critic. He is also the board chairman of the National Arts Journalism Program, and broadcasts a weekly arts review program on WNYC-FM, the New York Public Radio station. Rockwell is a Chevalier of the French Ordre des Arts et des Lettres, and has served on the advisory boards of the University California, Berkeley, and Harvard University.
Non è un frustrato
sarà un luogo comune ma nella critica musicale è dote rara; nel senso che non ha delle teorie particolari da dimostrare, dei gruppi da mettere sul piedistallo e altri da insultare --- arriva al 1977 con già diversi anni di lavoro sulle spalle, ha trattato la musica classica, i dinosauri del rock, il glam, ecc ecc ecc, e confronta il nuovo mondo con il vecchio senza percepire un grande scontro, limitandosi a descrivere quello che vede. Conosce bene il rock USA ma ha un'esperienza notevole, anche sul campo con i live (la parte più interessante dei suoi scritti secondo me), pure in ambito UK
Posso cercare altro materiale disponibile in rete in maniera semicompleta, alcune cose del Rolling ad esempio esistono ma ci vuole tempo; per i nomi importanti è più facile forse perché non hanno collaborato solo in progetti underground e ancora oggi sono famosi
Con l'inglese non sono un fulmine, capisco tutto quando leggo ma se voglio avere una traduzione perfetta devo perdere un pochino di tempo che ora non ho, quindi aiutami tu se sbaglio a comprendere
evidenzio solo delle parti, linko comunque gli articoli interi
Dec. 22, 1978
"...
Here, then, are the top 10 disks for 1978:
No. 1. Talking Heads, “More Songs About Buildings and Food.” This leading New York, new‐wave quartet's second album was produced by Brian Eno. Mr. Eno's production work can sometimes seem obtrusive, but here his participation — which amounts almost to the expansion of the group to a quintet — is perfectly in tune with what David Byrne and his mates are up to. The result is a record that can be enjoyed on almost any level. It's interesting lyrically, fascinating as an example of progressive‐rock experimentation, color,istically engaging and about the best dance record of the year (sorry, Bee Gees). And it boasts the best (as opposed to most characteristic) single of 1978 in the River.
...
Blondie, “Parallel Lines.” This is the third and best LP from this ever‐evolving, New York new‐wave group. Deborah Harry's singing continues to improve, and the band's blend of progressive experimentation ...
”
..."
Oct. 23, 1977
il titolo dell'articolo è "When the Punks Meet the Progressives"
"...
This article began by positing an opposition between the punks and the progressives, but that's not really an absolute polarity. When the punks get minimal and the progressives get austere, the two can become one—as Patti Smith and Talking Heads, in their very different ways, have already shown.
...
"
Sept. 11, 1979
concerto dei Model Citizens, band wave molto valida che ha inciso poco; finiti nei Polyrock che sono abbastanza famosi anche sul forum (piacciono al Duca se non sbaglio)
"
The music that these Model Citizens make is even more unusual. It's highenergy, tense and pointillistic, akin to both fusion jazz and to the sort of progressive rock that Queen and Genesis espouse. But it's quite lacking in balladic softness or rhetoric; instead, the herky‐jerky energy of Devo or, sometimes, Talking Heads comes to mind.
"
Dec. 24, 1976
parla dei Blondie
"But now the group's first album has appeared, on Private Stock, and it turns out to be a most appealing disk debut indeed. Miss Harry sings with a graceful, pretty assurance, the band plays spiffily and the songs themselves are full of clever pop twists and arrangements‐not so much punk rock as a sort of progressive pop."
..."
Jan. 14, 1979
"
...
But some recent LP's from Britain make one wonder if even the term “new wave” has much meaning any more. Like most such movements, the original energy came from musicians and young managerial types who formed a grouping as much sociological as musical. By now all sorts of interlopers have tried to cash in on the punk craze, and at the same time many of the originals have extended their interests to include defiantly progressive rock, reggae, pub‐rock and other form of rhythm-and-blues and early‐rock revivalism.
...
April 5, 1979
parla dei Police
"...
In this case, the elements come from English new‐wave rock, reggae and the sparer, more structural kinds of progressive rock.
..."
Aug. 26, 1979
Cars
"...
There's the tunefulness of an Electric Light Orchestra, the busy synthesizer and electronic keyboard tex tures of the other British progressive bands, and a pounding, popsy energy that recalls new‐wave rock and “power Pop.”
...
"
c'è altro materiale, esempio degli articoli interessanti sul rapporto tra i Suicide (e la synthwave in generale) e il prog kraut-elettronico, pian pianino posso tirare fuori tutto