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Re: Concept albums: what a concept!



>> You're expecting another something like "Psychoderelict" or "White 
City" for "Lifehouse" then?  Do you think PT had this idea that far 
back?
>
>Well, PSYCHO...includes Lifehouse, so it's hard to say...since it has a 
completely different story. The story is on two levels: the story as the 
dialogue states, and then the songs give you the "background" (as it 
were); the feelings of Ray Highsmith as the story progresses. So to me, 
it's not like anything else Pete has done. Maybe a blend? WC is much 
more like how I imagine Lifehouse was meant to be. Not the direct story, 
but in addition to the story.

I don't think it INCLUDES Lifehouse.  PsychD is somewhat 
autobiographical, as is usual with PT, and so it's about himself working 
on Lifehouse, with minimal changes to protect the uh, innocent parties, 
of course.  There's enough of it there that we can't miss it, and what 
aging rock star he's talking about.  I think the imagery's chosen 
specifically to further the message of PsychD, though, rather than 
Lifehouse.  It suggests a spider's web more than I'd expected Lifehouse 
would. 


>> Which is an example of process development.  You start off writing 
songs and then you notice they're all similar
>
>I GUESS, but what do you think is the percentage of concept albums made 
in this way? 

No telling.  I just don't expect that artist types have rational, linear 
minds.  Maybe their managers can keep them organized, but left to the 
artist, maybe lots of concept albums just happen, like in a drug-induced 
haze.


>And I still don't think this makes WAY a concept album.

Marginal, maybe.  It's subtle, and I wouldn't have noticed it myself if 
Brian's aritcle hadn't pointed it out.


>> That's because people think about sex about once every ninety 
seconds, 
>
>THAT long between?? No wonder there's not more sex in the streets! We 
need to do something about this....ASAP...for the good of the world, of 
course, not for selfish reasons...

Well, I'm in.  What do you suggest?  :)


>> Look at them again.  "Sister Disco" and "Music Must Change" are about 
needing to change.
>
>How is SD about "needing to change?" Obviously MMC is, as the name 
itself says. And even that doesn't means it's about reincarnation and
>renewal..."change" is rather general. Change is something that happens 
every single day, to us all.

"I knew then that my life took a turn...
Goodbye, Sister Disco
My dancing's left you behind...
Now I go, I go where the music fits my soul..."


>> "Love is Coming Down" has that first chance, second, 
>> etc. structure that could be interpreted as living through various 
>> lives.
>
>The key phrase being: "could be interpreted." As I hear the song, it's 
about a SINGLE life and screwing up twice...and HOPING that they get it 
right this time!

Well, you don't expect PT to confine meaning to a single possibility, do 
you?  All his songs are murky, and shift as you try to grasp them. 


>> Why do you feel Quad was progress and WBN and WAY aren't?
>
>Because that's the way it is, maybe? WBN & WAY didn't move music 
forward; they were instead a retreat. I've already said this. Pete 
himself said it about WBN.
>
>> Where do you think PT should have gone after Quad?  More of the same, 
just louder and longer?
>
>It's not for ME to say! If *I* knew where to progress from QUAD, you 
would be discussing this on MY list! ML@igtc.com...say, that has a nice 
ring to it...

Then it's a matter of opinion?  Say PT felt at a dead end with The Who, 
but are White City and PsychoD a movement forward?  PT seemed to think 
so, as they both included scripts and an opportunity to exercise his 
writing ability and theatrical bent as well as musical talent.


>> The earliest examples are his "true voice."  Later on he'd learned 
>> technique and style--which he still has BTW.
>
>Too bad he doesn't have the voice to go with it anymore...

I just haven't noticed him sounding that bad.  Not so good on cds--he 
can't do such delicate work as he used to, but he came across 
outrageously on the tour, and sounds great on the tapes.  It's still one 
of the better voices around for live work.  


>>Why do you think he'd specify anything in the songs?
>
>I think at least something identifiable would be there. I refuse to 
grant concept status on the grounds that Pete is a complicated fellow 
who writes on many levels and I can possibly imagine that the songs 
might slightly imply something another song might also slightly imply if 
I stretch it...


>> It can be.  You can follow the roots of any composer.
>
>The trick is to use your roots, not copy them.

Who else does that radio play stuff?  


keets
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