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  1. The role of art and culture in Nazi ideology was immense. They were brutal in their attacks on what they called "degenerate art", which would typically mean anything modernistic or avant-garde, but could extend to virtually anything that wasn't Wagner or similarly heroic or nationalistic. Ironically though, the Italian futurists were essentially all fascists. It's hard to imagine they shared much as far as tastes in art are concerned, though of course they did share the same love of strength and violence, and the same contempt for the weak.
  2. What is your set list like otherwise? Even disregarding the question of authenticity, it's a heavy song to throw into a mix. I feel there are more occasions it would feel inappropriate than appropriate.
  3. I think Baz is a very solid guitar player and can certainly belt a tune, but he's got that sort of wide-stanced, brutish kind of image to him that I suppose might serve the more aggro material fine, but ultimately I find a bit one-dimensional. Hugh could certainly be rough, but there's another side to him as well.
  4. Such an incredible piece of industrial design. I can look at this thing all day. Bizarre to think the same guy came up with the amorphous Spector NS. Good luck with the sale!
  5. It should be noted that lyrics of unrequited love, heartbreak and indeed self-pity date back to Hank Williams at the very least, and are probably as old as popular music itself. They can, of course, be done more or less successfully. Personally there's only so much whine I can take without some humour, eloquence or at the very list poignancy and sincerity to back it up. However, I have a rather strong hunch that the majority of those who so often and so loudly feel the need to criticise young sensitive poets are simply rather angry middle-aged (or above) men of less than average emotional intelligence who find it both confounding and upsetting that some people not only find ways to express feelings other than aggression/horniness/triumphant superiority, but are actually rewarded for it as well - in money, and female attention, for whatever that's worth. And, in all sincerity, "big boys use Black & Deckers" is, this side of the century, as embarrassing a sentiment as anything found in your average power metal song.
  6. That's a shame, but expected. For some reason, it's very rare to come by cases for these. I was very close to buying one, with case, around this time last year but the seller unfortunately withdrew last minute. I suppose no case means it's collection only?
  7. You don't happen to have the hardcase for this?
  8. A vintage JJ tone is really rather simple. Precision bass, rounds, played with a pick into an overdriven amp. It's possible there was a torn speaker cone involved somewhere, but I wouldn't recommend trying to replicate that. I'm going to go out on a limb and say it probably won't be easily achieved with most modern amps.
  9. Spotted a nice Ibanez RS900 today, on a Trafalgar Square busker, no less.

  10. American hops, American hops, everywhere you go, American hops. 

    1. Mykesbass


      As in "Let's go to the hop" hops?

  11. Ah yes, I'm sure you're right. I'm not that well-versed in matters Yes, to be honest, but the point still stands in regards to people's perception of them and whatever bands might have more of an actual fantasy slant. I suppose in all fairness Rick Wakeman didn't really help ward off that image what with the cape and the Arthur stuff.
  12. I'm with you on a lot of these points, 4000. Not really sure how a Stranglers thread became a discussion about the various forms of prog, but I have to jump in as well! I definitely don't hear much of folk in Yes either, but then British folk does happen to be the genre (or tradition, rather) of music I enjoy the most as a whole, so my perception, and definition of folk might be a bit different, more narrow, from others (as an example, my favourite band is Jethro Tull, and while many have applied the label "folk rock" to much of their output, I'd say it's folk-inspired at most - and even then certainly more Celtic than English, and much more apparent in music than in lyrics). I also think medieval bent, as in the case of Gentle Giant, really is something of a compliment rather than something to look past! I do appreciate a good groove but I tend to stay far, far away from one-note funk. I've also had trouble connecting with modern prog bands. Too much of it sounds the same to me; it's often to metal-oriented, and almost always strangely dour, dreary and humourless. I can enjoy a bit of darkness, and certainly some heaviness now and then, but I think prog is best when it's energetic, adventurous and exuberant. I don't have much of a taste for fantasy themes myself, but I do prefer it to brooding self-importance. As an almost-aside, Robert Fripp is very near the top of my list of most pretentious musicians, along with his chum Eno and the No Wave crowd. How do we all feel about Captain Beefheart? In my experience he seems to be one of the biggest unifiers in music. Probably the artist who most attracts punk and prog fans alike. I'm not a regular listener but I do happen to like him, myself, and the attitude is brilliant.
  13. Early Stranglers, to me, are just plain old rock, but it's very clear they rode the punk wave, and intentionally so. In fact, in their earlier incarnations a few years before their breakthrough they were decidedly more mellow. Strange Little Girl, for example, began as an early demo from this period. B&W would be easy to classify as post-punk, but so would an awful lot of albums from 1978 that don't necessarily sound like one another. Raven and Gospel are damn near art rock. Then, onward through the 80's they were more of a pop band than anything else, really. For whatever it's worth, Dagenham Dave's other favourite bands were Genesis and The Tubes!
  14. You hit the nail on the head. Taken alone, some of those lyrics are tolerable, but together they do paint a bit of a rough picture. It's hard to claim the sexism charges of the time were unwarranted, although I do think purging their records from the Rough Trade shelves might have been a bit much... And indeed, there was definitely a tonal shift, lyrically, from B&W onwards. For a rather stark contrast to the early provocation there's JJ's European Female from the Feline album.
  15. I tend to feel a bit uneasy whenever punks talk about prog, and prog rockers talk about punk, seeing how among my favourite bands there's one group which invariably is described as prog rock (Jethro Tull), and one which invariably is described as punk (Buzzcocks) ( with good enough reason, although to my ears, neither are the best examples of their respective genres). Not the most usual combination of bands, I'm sure, but there are a lot of music lovers who dabble in seemingly contrasting genres.
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