Sabbath = the great deaf-spot (auditory and ideological) of the Last Waltz/Stranded generation of rockwrite
Every generation of rockwrite has one, and has to have one. It's the essential by-product of having a value-system, a metrics of valorization.
So what was ours? (I'll leave the "us" of "ours" open-ended for now).
Thought: the vitiation of contemporary music-write = its attempt not to have any deaf-spots ... none at all, not one.
Given his recent book, I was just thinking about Cameron Crowe's evasion of that 'value-system', and how it plays now versus how it played then - then, his acceptance of everyone from the Allmans and Yes to Station to Station era Bowie to Joni Mitchell was viewed, arguably more than his utilitarian prose, as his ultimate failing; now, it make him look more 'modern' than many of the more respected critics then
ReplyDeleteCrowe is probably the chief example of 'second-tier' rockwrite of that era also lacking a recognizable 'system', which has minuses and pluses, I think