is PINK FLOYD really PROG? + The Waters/Gilmour Row

hello and welcome to this video and this video is going to be called or to be more accurate ask the question is Pink Floyd Prague why am I asking this question because on my channel every time I include Pink Floyd in a top 10 greatest albums or most important bands or whatever I get a quite a large number of people saying categorically that Pink Floyd isn't Prague uh so I'm going to sort of um refute that basically because I don't think it's true I think they are Prague and I think that points to a problem that progressive rock has in the way that it sees itself which I also want to address and this may or may not but although it probably will bring in the whole um issue the fact that it's the 50th anniversary of Dark Side of the Moon this year and there's going to be another great big reissue of that and also the ongoing fight between uh Roger Waters and Dave Gilmore all that's going to be in this maybe because anyone who watches my videos knows I don't really have a plan and I start talking um I really want to address this idea of what is Prague and what is in Prague and it seems quite ridiculous to me when you've got people saying that Pink Floyd is not a progressive rock band of course the problem with this for me is um we can't have the genre of progressive rock so wide that includes everything but by the same token we can't have it so narrow that it it excludes most things right if you start doing that you start becoming Gatekeepers to the genre and there's nothing that will kill a genre Stone dead than people putting a big fence around it saying that's what it is because then no one's allowed to push against those boundaries and change the genre which stops it from moving forward it then becomes a museum piece and of course this is doubly ironic when we're dealing with a genre called progressive rock where the one of the inherent qualities of that genre is that you are pushing against the boundaries of what we EX expect a popular rock music to be or popular music to be so there's a whole bunch of issues that go way past Pink Floyd that I thought would be interesting to talk about now um if you go back to my history of progressive rocking 60 albums videos on the first one I brought out a concept called the progometer now the pragometer is something I invented to determine whether something is Prague and that of course prong fans love this you know that sort of um eight or tentative you know a detailed driven sort of platonic Perfection mindset of the average Prague fan loved there to be a set of rules and people said you got to do this more you've got to do this more so what this is it's 10 attributes that we could ask whether a band's got they're all attributes that I have argued are associated with progressive rock and then because there's 10 we can Mark out of 10 and then that gives us a percentage of how Prague an artist is of course this is absolutely ridiculous and silly and the truth is if you really want my opinion it would be a lot more sensible just to not have any of these genres or Styles and just listen to music and treat everything as as the band in itself and not compare and all that that is truly what I believe but the music industry doesn't work like that the music industry has to have genre that's how you sell stuff to people that's how you perceive it you know so you go I'm a fan of these bands they're under the banner of Prague so so send me more some more Prague and it's essential that we have that you know I have learned this to my peril because uh in my um small history as a musician um if I've become known for anything I've become known for playing with progressive rock bands and now it's virtually impossible for me to do anything else if I was to form another band like a reggae band and it would be like starting from scratch I have to work within the genre and I do work within the genre and because of that it makes me think what are the parameters of this genre how far can we push it how far can we push the fans right so this um thing you know that keeps cropping up where people say that what seems to me one of the preeminent frog bands of all time where people are saying they're not Prague I know why they they don't think they're Prague I know exactly what it is but we'll get to that in a minute um let's uh let's have a look at my 10 attributes I said let's let's launch the progometer on Pink Floyd shall we and see what the score what score we get so I've got the progometer here you can't see it you don't want to see it it's a terrifying looking device I have it just down here to the right here oh my God it's it's like a cross between a vagnerian film set and how that's what it looks like and I've I've switched it on and we're going to start with the first attribute that I think progressive rock um tends to have and the first one is the use of long Thorn compositions using non-pop song structures with classical Forbes often classical forms and stylistical genre changes this is a really interesting thing about Prague is that um it's harder to Define because one of the stylistic things of Prague is that you could play any style of music you want you know so it's very hard to nail it in terms of it's got distorted guitar or you know it's got It's got funky choppy rhythmic guitar like fun or you know you've got a heavy Baseline that you don't play on the first beat like reggae and all these things that you could determine another genre we don't have with Prague but I think this is sort of one of the major things that we uh could determine problems now of course all classical film music is long full compositions it fulfills all this classical music is not Prague if we listen to uh John Coltrane or Miles Davis they've made songs at a whole side long uh Steve Rice Philip Glass they make long-form compositions but neither of these are proc but it's an attribute so we've got 10 attributes here you know so if you only get one of these you'll get 10 Prague you are 10 Prague see how it works now in terms of Pink Floyd my God have they made some long-form compositions using non-pop song structures and using classical forms with stylistic changes within them um echoes atom heart mother and a whole host of other tracks so I'm definitely going to give them a point to that so there's a point there um number two um rock music popular music grows out of Afro-American music the the um the song is very important without in that and the way you sing is very important important um if you listen to The Beatles for examples The Beatles in the early days are Apink singers like Little Richard Elvis Presley you can hear that the Everly Brothers you know so that's sort of American style of singing popular Afro-American derived uh vocals is very important in popular music the Beatles are interesting because they also bring in musical influences and they start to change the type of um accent you can use they use much more um accents based upon the fact that they're English and from Liverpool um I think this is another attribute when we look at Jethro Tull and we look at yes and we look at Emerson Lake and Palmer all the classic frog bands they'll often sing in their English accent now of course Petula Clark Scott Walker they also do this but I think this is another attribute now I think with Pink Floyd um Roger Waters does have a growl and a shout that comes from the Blues but also there's a very English sound to his voice I think in Dave Gilmore's case it sounds like an English gentleman singing so I think we score another point for Pink Floyd bear in their use of non-blues English accent devived vocal delivery that's another one um number three the subject matter right most popular music that sings about they sing about having parties about chatting up the opposite sex going out and having a good time all that genre of songwriting subject matter Prague does not do it it sings about much more complex deeper subjects often with sort of literary Illusions um often with sort of um deep quite disturbing um themes now of course Pink Floyd does this to the eighth degree so I'm definitely going to score them a point for that I think Dark Side of the Moon is possibly um the uh signature album of an artist making music which is so far away from singing about love and partying you know I think that would be the definitive album which is really you know uh questioning our existence in a sort of existential way and there's the literary illusion for me we Dark Side of the Moon okay number four the use of Concepts throughout an album or conceptual continuity I I've widen this to say um Prague bands often won't make a a concept album but they will link the whole album together with conceptual continuity throughout um a band that that really show that approach off would be gentle Giants there's so many albums there that um are not concept albums so you get now I'm like power and the glory which is not concept album although all the tracks are dealing with the concept of power right so that would get you the mark in a Pink Floyd's case they have made out now concept albums in my opinion um I would say that uh the of the uh the great run of sort of Classic Albums which would be dark side of the moon wish you were here uh animals the war and the Final Cut they're all out that concept albums uh I would say they were a leader in that area as well so I'm going to give them a point for that number five another aspect of progressive rock a lot of um other genres are based upon quite static instrumental or Studio approaches you know heavy metal is basically guitar bass and drums uh the guitars are distorted there's a certain Dynamic that goes on uh in that sound if you look at the funk band you could say you know you've got that funky choppy guitar you know sort of syncopated bass line syncopated drums you might get keyboards we can predict what those keyboards be maybe a clavinette or a fender Rhodes piano maybe Haman organ it's all very predictable um progressive rock is different in that integrate into the approach of progressive rock is the idea that um technology plays a huge part in the creation of the music and there's two worlds here there the one is the use of synthesis and then later on sampling and all that type of stuff and the other one is the use of the studio multi-tracking and and being able to assemble um albums through the multi-tracking studio process so I think again um Pink Floyd are just leaders in this area absolute leaders I think after the first album we see a number of albums where the main subject is there um exploration of the recording studio and what it can do and the exploration of synthesis and technology and what it can do they lead that way opening up the doors for bands like Tangerine Dream later on um by the time they get to uh say dark side of the mood we're seeing really um Advanced use of Technology um not only in the way they're integrating fan sounds um spoken word music concrete um synthesis experimentation but also the use of sort of holophonic recording you know three-dimensional recording all of that's going on so Pink Floyd's score a big tick for that one as well for me right so we now get on to the number six um this is the use of odd time signatures and complex rhythmical structures this is a feature of yes it's a feature of ELP it's a feature of Genesis gentle giant now here is something where um I'm gonna be fair here and not give Pink Floyd a point to try and show that I'm being as objective as I can of course Pink Floyd fans who do think they're Prague band are going to say like their biggest track in history money is in seven it uses an on-time signature and all that sort of thing and I'm sure they they're real um experts in Pink Floyd will be able to point out other tracks where they use a high level of rhythmical sophistication but on the whole I don't think it's something they do I think it's one of the reasons why they are one of the biggest bands in the world because the timing the basic pulse is quite predictable for the normal listener it doesn't throw the listener off and so I'm not going to award a point for that one for number six I'm going to be fair I could put a half a point in for um money but I'm not going to okay number seven the use of fantasy imagery and fantasy themes or the use of Science Fiction themes and science fiction ideas in the music you know so straight away straight away I could point to you know set controls to the heart of the sun which uh you know I could never see you know Chuck Berry or the Everly Brothers placing themselves in a spaceship which is on self-destruct I just can't see that theme arrive arising in their music um there is so much um use of that sort of imagery not only in the subject matter but also in the um artwork and presentation of their albums so they get a big resounding point for that okay number eight musical complexity instrumental virtuosity I don't think that Pink Floyd are known within the Prague world as being virtuosos right we could argue that the use of you know extended guitar solos and Dave Gilmore's you know incredible feel and touch that he has on guitar which is has become the standard for people what people describe as expressive guitar playing I think um we could give half a point here but I'm going to be fair and say no and I think this is the reason why certain people don't class them as a progressive rock band because all they see progressive rock is is just being tricky hard to play it's as simple as that that's their rule I think all the people who are saying Pink Floyd daughter frog band 90 of them are just going yeah well they can't play like yes they can't play like gentle Giants they haven't got that virtuosity that is they they are only appreciating the skill aspect of progressive rock I will get on to that in a minute I will deal with all of you who think the progressive rock is just clever Rock that's hard to play all right um but I'm not going to give a point to that um number nine my second to last attribute is the use of improvisation to extend the form you know um we have long form compositions um some progressive rock groups don't use that much improvisation but they often will use improvisation to write the music um they will Jam in the studio to write the pieces I would think Genesis and yes an example of that also the band IQ that I played in there was very little improvisation in IQ but when we wrote the album it was entirely jammed together in the studio really interesting approach um in um a band like gong or soft machine or Hatfield of the north we start to see a lot more improvisation and improvisation not only is just solos I mean it's not just the use of improvisation um you know most heavy rock bands will have a guitar solo in I'm on about use the improvisation to extend the four jamming on certain ideas it's something that Led Zeppelin would do live that that using improvisation to extend form of course Pink Floyd did this to the cows came home so we're gonna give a big resounding point for that and then we get to my final attribute which is the use of the English aesthetic at the moment I um in the middle of creating some videos where I'm going to try and explain what I mean by the English aesthetic um this would be really interesting the first video came out a few days ago you want to check it out it's called the English aesthetic part one um it has created a lot large amount of people saying I know exactly what you mean and I know I've always thought they said no one's ever voiced it the fact that if I think of Elgar and Shakespeare and Lewis Carroll and the goons and Monty Python and Led Zeppelin and the sex pistol that they're all joined together by this thing that is really hard to to um put into words that's what I mean by the English aesthetic I've also been accuser being a colonialist I think people think I'm sort of some jingoist um championing Empire which of course anybody who watched the video enlisted what I was saying up the point I was making is hidden esoterically within English art not English History within English art and these things that's um undermine and challenge totalitarian and authority and Empire and Jingo is that is the very thing I'm trying to elucidate here um and then people have uh challenged me saying yes well lots of cultures have this and they do and where that's where you've had that you have had the development of sort of liberal tolerant thinking within that culture right these things are really important and that this is where we're going to get onto the second part of this video which is talking about this whole Dave Gilmore Roger Waters debate um but the the the the the final attribute in my on my progometer would be the use of the English aesthetic in the music which of course Pink Floyd do resounding in my opinion so if I just press the big button on my pre-programita my progometer is coming out that Pink Floyd is 80 percent prog and that's the lowest estimate all right if we did put in those half points um for um the odd times and um the use of instrumental virtuosity we just Ed said that they don't ski at score zero there we would be somewhere around about 85 percent I would say if I was really fair I would put them in at 85 awarding 2.5 to those two attributes 80 Prague to me is pretty Prague all right so I think the um conclusion having gone through probably more systematically and logically than anybody who just went then that plug on my uh comments you know I've tried to at least have a criteria in a system if you've got a better Criterion assistive then write it down in the comments and show me with something as methodical and logical as I have just done that big Floyd stockpro come on let's get a character argument I can't stick it when people put stuff up and you know it's just their gut reaction it's their opinion it's what they like they haven't thought it through and they are just putting up what they think because it sort of undermines the very reason why I'm doing these videos I do these videos hopefully to get fans of the genre to go oh yeah I hadn't quite thought of it like that I'm deliberately saying stuff which is not intuitive I'm not gonna just come up and say the obvious thing I'm gonna say the thing that's contrarian I'm gonna try and find cracks cracks in this storyline right of what Prague is you know why because I love this genre and I think it's maligned right and so we have a band here that is 80 over 80 Prague okay um we can now have an argument of where you're going to you know draw the line and I would say it's around about 75 percent if you're if you're if you're there then you then you you're pretty much Prague so I think I've proved my point that um no band is 100 prog the everything artist has Progressive tendencies in Pink Floyd's case 80 of what they do right so when they're doing something okay you eight times out of ten what they're doing is progy that's what that means all right so I think I've proved the point now let's move on to the last final bit of the progometer right so let's move on to this English aesthetic um there is an aspect Within Western liberal democracies this idea of free speech this idea that people should be allowed to say what they want and that if somebody says something stupid because everyone's allowed to say what they want then someone can come along and contradict that person and we can beat their arguments because everyone has the option to tell the truth does it mean everyone will tell the truth right but it means we can use facts and logic and reasoned arguments to um come to a conclusion that respects the idea of Truth all right I think that the best societies are based upon two principles one is the respect for truth all right the other is an appreciation of beauty you need to appreciate beauty beauty is not truth it's something you need to understand it's artists negotiate Truth uh sorry Beauty and in negotiating Beauty that's where our moral standards come from because our moral standards are not truth they are um the uh collected opinion about what we find beautiful fundamentally and by beautiful that can be right or wrong so an artist will look at a painting and when they finish it they'll go well that feels right to me and it's exactly that which also determines our morals now as I say that there's a whole bunch of people out there um especially anybody's attached to any sort of dogmatic ideology that thinks their moral code is coming from somewhere else you know a strict set of rules um a bunch of theoretical Concepts or a spiritual entity God or whatever if you believe that your morals are coming from there you're going to find that really difficult to deal with um I don't believe they do I believe human beings negotiate uh morals and I think they do it in the realm of Art art um it's human beings decide whether something is right wrong and the whole history of debate um has shown that um where dogmatic ideologies have taken place and we see this with Nazism we've seen this with Marxism and I believe we're seeing this with a certain aspect of identity politics politics at the moment where an ideal ideology is held on so tightly that um people cannot shift and then cracks start to appear now the intentions of people who set up these ideologies are often very very commendable you know the marxists who wanted to get rid of you know sort of inherited wealth and you know a sort of Bourgeois control uh of the means of production so everybody could have wealth you know that's a noble um ideology the trouble is is that when you try and force these ideologies the cracks start to appear um in most um 20th century communist countries the cracks have been the realization that that the masses can't actually control that you have to put someone in place to oversee that and the only way that they can oversee it is to totally and totalitarian control of society and then if you create a totalitarian control they were people who will disagree with you and this is the whole point here with this Pink Floyd Roger Waters uh Dave Gilmore debates you know people will dislike what is being said and rather than argue against it they will try and um act upon that in a totalitarian way and just try and shut that down so he just said right this could be said because you've you've crossed some sort of her heretical Line in the Sand or because um uh you've um questioned the dogma and the Dogma has been decided that it's correct and cannot be questioned this is something that I think is really dangerous I think our morals have to be negotiated so if you're thinking I'm going to come down on the side of Dave Gilmore or Roger Waters I'm not but what I am going to celebrate is the fact that the debate is happening all right Roger Waters comes from an era which is now 50 years old all right it's a very attribute that drove progressive rock right and he truly believes that he isn't entitled to his opinion as an artist he's um entitled to in discuss his opinion and he is in expects there to be a debate right now whether some of these stuff he is saying is true or not true or whether it's correct that discussion needs to happen okay now um one of the things I felt with Dave Gilmore's um partner's response is that they weren't trying to shut him down by arguing with what he had said they were calling him names and I'm sure um Rhys more recently um Roger Waters you know in his critique of Stuart mccone's article that has recently come out uh where he's complaining that that's not true that character argument is different to me um so what do I mean by this um I'm not going to say where the right Roger Waters is right or wrong what needs to happen is there needs to be a debate and people need to come up with facts and they need to be able to not only argue with facts but they also need to argue from aesthetic point of what feels right or wrong and that needs to be negotiated as well okay um hang on I've just noticed the battery's running out of my camera because I haven't switched it on there we go um so yeah just calling someone a misogynist calling someone anti-semitic these have become the ways that people will try and undermine some of these position by calling them names that we have decided makes them Persona non-graters some of those things are mentioned okay um I don't think that's the way to approach this um more recently Gilmore's accusations to Stuart mcconey that um the facts of his article aren't correct with evidence to try and back that up he could May well be wrong I don't want to get into that but there's a discussion we can have we need to keep the argument um in that Realm but what's interesting to me is the I will argue that Roger Waters has the right to say what he wants to say Gilmore has a right to say what he wants to say and what's interesting here with it being the 50th anniversary of um Dark Side of the Moon is the argument over the legacy of that album that's what I can't find very interesting I do think that Roger Waters um in terms of what the album's about he's the owner of that album he's come out recently and said that the guitar solos that Gilmore's played are imping Floyd are some of the greatest guitar solos in rock I would agree with him I think there's a genius there there's a there's an instrumental genius Richard white writes love of jazz and model Jazz and Miles Davis those piano parts that come in that's so important to the music Nick Mason's beautiful drumming you know Nick Mason's not a virtuoso drummer but he's drumming is also always so controlled and beautiful sounding um all those elements make Pink Floyd albums the masterpieces they are but in with the Dark Side of the Moon you do feel that you are listening to the existential desperation of Roger Waters world view right without that the album is nothing without having that the album just would just descend into being some sort of middle of the middle of the road musaki dad Rock which I think is where Pink Floyd went as soon as Roger Waters list so I'm gonna champion in the fact that Roger Waters pretty much you know on the Classic Albums that came out in the 70s there's a strong argument that he is very important in what makes those album classic albums and um and that is of course the subject matter and what the albums are about right this is something that's really really important progressive rock is not fundamentally about playing tricky music that's hard you know jumping through um technical hoops and they're difficult or we're all supposed to sit there dribbling going oh my God they're musical Geniuses because they're not they're just very good musicians if you were into the average Symphony Orchestra you would find a whole host of musicians that are equal if not better than the average progressive rock musician let that be said if you went into the any jazz quartet you know there's students coming out of jazz colleges at the moment with more virtuosity than anybody in the progressive rock bands of the 70s right if we are going to reduce the worth of these bands down to just technical ability we missed the point that's not what it's about the things that make these records great is what they are about and I think Roger Waters argument that Dark Side of the Moon was he's um artistic Vision I think it's correct now should he now remake that right absolutely not because it denies at the importance of the input of all the musicians of the band right now um I've played in a number of bands this is always the fundamental argument when you're in a band and the reason for this is because what makes a song um can be argued that the the attributes of what make a song can get pulled apart we see this in copyright um law you know court cases all the time you know what makes a song right now I think the answer is everything makes the song okay um the um whoever comes up with the Rifts the chords whoever writes the lyrics whoever then Engineers the track you know where they put the microphones the sound of it um the the musicians involved everybody's input the producer everything all of that plays a part in making a great song right music is not made by individuals either Mike Oldfield who's made Tubular Bells all on his own did not make it all on his only have other people there working with him right so much music now can be made by people on their own in their bedroom and what do we see we just see the worship of perfection because that's what they get embroiled in the uh sort of community aspects of making music that was there in the 70s I think obviously when you go back to that music contributed to a greater art okay so everything everything's involved now the problem with bands is is once there's any success the Bands Will then start to look at the way the business works now in terms of copyright if you've written a song 50 of that song is the music and 50 of that song is the lyrics so whoever writes the lyrics in terms of the way copyright sees it but the lyrics is fifty percent of the song that's half the song so straight away in terms of percentages anyone who's wrote the lyrics can say well this is my song if they've been involved in the music at all that one person can logically argue that they are more than that than anybody else and the poor old drummer that came up with the groove is sat in the background going well I'm pretty sure this song wouldn't be um that great if I hadn't have done that thing there you know um it's like um there's so many examples of this if you take Led Zeppelin okay if you play rock and roll by Led Zeppelin you have to play that drum intro the John Bonham stole from the guy that played with Little Richard right that guy that Little Richard jumper owns a little bit of that tune you know anybody who's watching the covers band play that and they don't go they don't do that at the start he's gonna feel cheated that's part of the tune right so what happens in bands and it's happened in most of the Bands I've been in unless the band from the outset says we're splitting everything equal it's all equal everyone's got an equal ownership even that song that you weren't involved in drummer even that song that was just keyboard and vocals you're still gonna get your 20 because we're just gonna do it as a collective they're the bands that stay friends and last right I think what we're seeing here is musicians very old musicians arguing over their legacy and all trying to prove their importance and we have a toxic situation where Roger Waters could argue quite logically that he was a very very important um part of the Pink Floyd machine he was the one after Sid Barrett left that provided the guts the flavor the vibe that made those albums so celebrated 50 years later all right um but he no longer owns the band name Gilmore owns the band name okay so Dave Gilman's going I'm Pink Floyd So what this is is it's it's a bit of I'm Pink Floyd no I'm Pink Floyd that's what you're really seeing here and it has nothing to do with these things of you know whether someone's anti-semitic or misogynistic or whether Dave Gilmore's Guitar Center is the best but it's got nothing to do with that we're seeing the age-old argument that happens when you're in bands you know and it comes from this unequal distribution of the um Legacy of that band okay it's it's really odd for me if you take a band like Led Zeppelin John Paul Jones could be a bit miffed because his uh input into that band is somewhat seen as slightly less to Jimmy Page Robert Plant and John Bonner but those three are legends and nobody would argue that John Barnum isn't integral to that sound now the fact that um John Paul Jones is a brilliant arranger an absolutely brilliant arranger and worked as a ranger and arrange so much of what Led Zeppelin did um and if you listen to a stair to heaven or no quarter or you know um uh a cashmere the arrangements are so important and you've gotten a brilliant arranger in your band so it's obvious that John Paul Jones had an integral role in that band but he could feel slightly miffed that he doesn't get mentioned in the same breath as a John Bonham or Jimmy Page or a Rob plant um and I'm sure that in terms of the copyright with that band it was page and plants so they would have made more money and then they all made a ton of money but I imagine Robert and Jimmy have made more money out of it plus they did the paper plan thing later on so they they've been able to extract more money out of it so when we look at that band you could see how if you John Paul Jones despite all the success you could be a little bit miffed that your um your your input is not quite regarded by the publics in the same way as the other guys are and I think um I just picked the first band that it that in my head I think the same thing happened with George Harrison with the Beatles it's it's very difficult for a band to negotiate huge success without that huge success then going to the members heads and then start saying well I was responsible for that well if I hadn't turned up on that day and done that that would have never have happened and I can tell you this channel which is based upon my experiences of playing in bands this is where I can really bring that experience in and tell you that's what's going on there right it's two dogs arguing over the carcass of Pink Floyd that's what we've got going on that's my opinion on it so anyway I think I've got to the end of this video now I think I've said what I wanted to say about this I did manage to cover all the areas I wanted to do you know it's uh um a bit a bit of strange video again we've questioned the very essence of what progressive rock is and what the legacy of this genre is please prompt fans um this is an incredible genre don't throw the baby out with the bath water okay bands that are obviously got a huge percentage of progginess in them judging by by progometer don't try and cast them out just because they don't fit into your narrow view of what progressive rock is and a lot of those bands in because these bands have changed the culture and it would be wonderful if um there was a line for young listeners music fans to be able to find these bands okay I teach young people all the time they grow up they listed the Foo Fighters they list the Red Hot Chili Peppers they listed Blink-182 and it's very easy to find their route from that to bands like Black Sabbath and Led Zeppelin and queen you know that happens almost instantaneously because rock music heavy rock music it opens its arms to all of that and it's you know um meddlers will say Sabbath are a metal band you know that's where we come from and they're proud of that and they Champion that so many bands today have their roots in these progressive rock bands we love okay a band like Radiohead which is a huge band okay uh and then a modern band like black midi we can see the the lineage that goes Pink Floyd Radiohead black MIDI and yet all the young kids who were listening to Black Midian going having their minds blown by this incredible Progressive music it would be lovely if there was a line back from them to these classic frog bands and that was seen as the lineage I'm sure the musicians themselves would totally be aware of Pink Floyd you know I'm sure the guys in Black midi will say yep that's been a big influence you know uh it would be lovely for Prague to be able to open its arms to that and see what it's given birth to um if we've got progressive rock bands that are so quick to even keep Pink Floyd out of the genre that's quite a scary thing anyway I'm definitely at the end of the video thanks for watching please like it please subscribe if you want more stuff like this um if you want to really go down deep I've got a ton of contract content over at my patreon and the patreon links down there so please come over and join us there and um you know nobody's watching over on patreon so I could get even more deeper into this there's certain things certain areas I don't want to get into in in public you know uh it's sometimes you need to uh you know just shut the doors and say what you really think well I've tried my best to say what I think I think I've pushed Oliver upset at least 50 of the people who watch this channel now but look at my face there's a little green look this is all fun that's the thing that's great about art it's all fun it's the area that where we can discuss Value Beauty quality in a safe space where it doesn't hurt anybody right so if you're into that please subscribe follow the channel and I'll be on another video soon talking about similar stuff very soon very soon I will thanks for watching bye I can't find the button that's first time that's happened I'll say that again see you soon bye

Channel: Andy Edwards

Views: 6,553

Keywords: Andy Edwards, Mahavishnu, Weather Report, Zappa, Allan Holdsworth, Prog, Fusion, music, music blog, conversation, guide to, music geeks, music nerds, music discusssion, album guide, artist guide, ranking

Id: JjltfsMoPHg

Length: 43min 11sec (2591 seconds)

Published: Wed Feb 22 2023