It doesn’t seem to be possible to read it without having a wordpress account
Wyman was already mentioned above.
To be honest I do think time has a part to play in what society accepts. What Jerry Lee Lewis did was legal and accepted where he lived at that time, it hit a shitstorm when he tried to tour the UK where it wasn’t and the press had a field day.
Bill Wyman was in the newspapers dating a very young Mandie Smith at a time the same tabloids were doing countdowns to when a 15 year old could get her tits out on page 3 on her 16th birthday (now both illegal and morally unacceptable).
I’m in no way trying to excuse it but yes standards have changed and R Kelly is defined by the standards of 1994 with the Aaliyah situation or today with whatever he’s doing now.
Let me try again.
My album of the year plug. Take 2.
Watching an old Top of the Pops on BBC4 last night and they played this double dose of nightmare fuel videos back to back.
I was nodding off in front of the tv, but that brought me right back to the waking world.
I’m glad that I’m not the only one who saw that.
I like your reviewing style.
I like Midas Fall and Tomorrow We Sail, but I haven’t even heard of the other bands on your list though.
I love that Tomorrow we sail album so much but seem to be having a hard time convincing people how good it is…
Perhaps the real problem was that he sold too much (around 150 million albums), was around too much, played everywhere, including both sides of the Atlantic for Live Aid, and produced too much. Even he has admitted his presence in seemingly anything that happened in the 1980s would have got up his nose too if he had been watching.
Here’s the thing though: he didn’t force millions of us to buy his records. He didn’t demand we love him and his funny comb-forward.
FWIW I don’t hate him or his work, solo or with Genesis.
I didn’t realise that he was widely (i.e. by the mainstream) hated. A lot of hardcore Genesis fans dislike him because (a) he changed the sound of their favourite band for the worse and then (b) buggered off to become a bigger global megastar than their favourite band ever was.
But that’s just a small group of fans. I thought the world in general loved him (witness my point b above).
I would love to know the story behind the major backlash against Collins. As far as I know, there was no single thing that turned public sentiment against him, yet it seems like he went from loved to hated overnight.
My favorite Phil Collins trivia: he played congas on “The Art of Dying” on George Harrison’s solo album All Things Must Pass way back in 1970.
Wow, next you’re going to tell me peopled loved Chicago before and after Peter Cetera.
I like Phil Collins but my wife HATES him. The general hatred, I would think, doesn’t stem from anything related to late-70s or early-80s Genesis, or even his early solo stuff, but rather his schmaltzy, late-80s solo work like this song, which is surely among the worst songs ever written:
That said, is he truly hated? I feel like he could sell out large venues around the world if he announced a tour tomorrow.
There was a Chicago after Peter Cetera?
With Chicago it’s more complex, because Chicago with Cetera went through two distinct phases, the early progressive-jazz-rock phase and the later AOR-ballad phase, and people seem to like either one or the other but rately admit to liking both:
I love Peter Cetera’s voice and their AOR hits from the 80s, but like most right-thinking fans I recognise that the early pre-AOR Chicago was far, far superior.
Chicago after Cetera, haven’t a clue, don’t think I’ve heard any of it.
It’s never wrong to hate Metallica
My wife strongly disagrees with that statement. As a matter of fact, she and her sister are flying out to see them perform this weekend. (I don’t remember where they are performing.)
You should move house while they’re gone.
She’s too good a cook to let go.
Besides, I love her and she makes me laugh.
I mean, I get that. Laura likes Metallica too, and i still love her. But there are red lines.
Yeah, the big change to Chicago (IMHO) was the death of guitarist/vocalist Terry Kath in 1978. His guitar work on “25 or 6 to 4” is a standout among rock songs of the 70s. Kath’s accidental death pushed Peter Cetera to the forefront of the band, and led to a move from a jazz/guitar-driven sound to a more soft-rock sound for the band.