It’s been way too long since we’ve recognized a Comment of the Month, because lord knows we get more worthy candidates than possibly any other music-discussion blog you’ll come across. In a recent Once and For All thread determining the most egregious fashion faux pas by Mick Jagger, we received the following winner: Continue reading »
Mick Jagger, acknowledged by even straight guys as one of the Sexiest Men in Rock (and yes, even sexier than Chris Squire) – not to mention among the coolest, in his prime, has nevertheless committed some of the most egregious Rock Crimes in history, many of them involving poor choices in fashion.
Early Jagger, when his hair was merely shaggy and he was supported by an energetic Keef and a silken-haired Brian, was nothing but cool. Even when he looked like he’d just gotten the shit kicked out of him in one of those “kitchen-sink dramas” of England’s early ’60s film movement (eg, any film based on a story by Allan Sillitoe and/or involving Tony Richardson), he looked as comfortable in his clothes as in his skin. He was so cool, in fact, that he made an Oxford shirt and sweater smolder. In 1964, not even a proto-mullet could bring the man down.
I don’t think Jagger had a bad rock fashion day until he and his mates attempted to jump onto the psychedelia craze. Although this 1967 Look is not a terrible Look by any musician’s standards, it’s among the first signs of Mick’s worst fashion impulses. Although Mick’s flirtations with androgyny are a key facet to his Rock Superpowers, the bright colors, silken fabrics, and general blousy-ness of the psychedelic era would bring out his inner-Linda Richman. No one asked for a Rock ‘n Roll “Babs.”
Although psychedelia wasn’t the best fit for Mick, it was some of his stage wear for the initially aborted Rock ‘n Roll Circus event that first fully crossed the Egregious Fashion Faux Pas Line. Nothing says “smacked ass” like Mick Jagger in a top hat.
When he wanted to – or needed to – Jagger could always recover from his most egregious fashion faux pas to date by throwing on a stylish suit. In 1971, for instance, following this disastrous Look, Mick went formal to great effect. His new bride’s choice in bridal wear didn’t hurt matters. (It should be noted, however, that the ill-fitting, mustard jacket worn on his second wedding day to an equally oversized-bride may have been Mick’s most egregious fashion faux pas in terms of formal wear.)
Do you agree this is enough background reading? Let’s get to the heart of the matter!
Once and for all…What is Mick Jagger’s Most Egregious Fashion Faux Pas?
Contenders surely include the following:
John Wetton Interview Coming Friday, October 1
Believe us, we care what the groundbreaking popular vote said regarding a poll that resulted from an analysis and discussion to determine – once and for all – The Sexiest Man in Prog-Rock. We care what the humble subject at the root of this heretofore-unexamined topic ultimately may have felt about all the attention he received. We cherish the new friends we’ve made in the last couple of weeks, and we welcome you to our daily gatherings and passionate discussions of rock-related topics, both serious and inane. We’re not sure how the other finalists in our quest to determine – once and for all – The Sexiest Man in Prog-Rock may have felt, but among those we attempted to contact, only go-to bassist/vocalist of the Progressive and Art Rock scene (Asia, King Crimson, Roxy Music, UK, Family, and many more) John Wetton responded to the ardent support of his fan base, summing up the consideration for this honor as follows:
“I’m delighted to be deemed a cute pig in the litter.”
We should all feel delighted to have finally established for all the world’s rock snobs, who have long considered prog-rock the sole domain of stoners and Dungeons & Dragons dudes, that the ladies dig prog-rockers on their own terms, including reasons as earthy as the music may be cerebral or ethereal. Just as cool, a number of Townsmen, regardless of their sexual preferences, felt comfortable discussing the importance of prog-rock bands containing a couple of good-looking guys to pull off those 17/8 time signatures. That’s what I call progressive rock music discussion! Most of all, however, we should feel delighted at the announcement that John Wetton has graciously agreed to subject himself to a Rock Town Hall Interview!
John Wetton: The Rock Town Hall Interview, Coming Friday, October 1.
The interview will cover John’s unique career and, hopefully, stimulate thought and discussion about the inner workings of some of the most-distinctive bands of the 1970s, the difference between “Prog Rock” and “Art Rock,” and the possible threat posed by Punk and New Wave bands. John also gives us a few additional seconds to answer the hard-hitting, rapid-fire questions of Rock Town Hall’s patented Dugout Chatter.
Thanks, John, and congratulations to leading popular vote-getter Carl Palmer and other runners-up Greg Lake, Keith Emerson (yes, the band should have been named PLE!), Chris Squire, and David Gilmour! Finally, thanks to the loyal and enthusiastic followers of one of rock’s most ambitious music scenes for making this silly notion turn into something of lasting value!
If Blues Hammer hasn’t already convinced you that 99.9% of white guys (and 110% of Dutch guys) should stay far, far away from Da Blooz, then this 1968 performance by Cuby & The Blizzards should settle the matter…once and for all. I think the two guys from the 1:24 through 1:30 mark would back me up, not to mention the dude who leads the march toward the door at the 3:03 mark. Enjoy!
Clearly the harmonics that open the Yes classic “Roundabout” represent the most definitive use of harmonics in a rock song, but what’s the second-most definitive use of this device? There are a couple of instances of what sounds like an arpeggio of harmonics in my favorite Fleetwood Mac song, “Over My Head,” but I wouldn’t call this the second-most definitive use of harmonics in a rock song. One especially distinctive and definitive use of harmonics in a rock song comes to mind, but let’s see if you suggest it as rock’s second-most definitive use of said device…once and for all.
The current SHOWDOWN poll asks What’s the cooler studio gimmick in a Led Zeppelin song? Along with the choices of the pre-echo in the breakdown of “Whole Lotta Love” and the dueling guitars bouncing from the left and right speakers at the end of “What Is and What Should Never Be” you’ve been given a rare third option, which allows you to add your choice for coolest Led Zeppelin studio gimmick here, in this thread. Your entry must be a studio gimmick of some sort, not a cool riff or something like that.
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This question is likely to be a Hobson’s Choice for many of you, but I think it’s important that those of you who feel this way contribute. Considering that the term song held little weight in the glory days of progressive rock, our most song-oriented Townspeople, who may have an aversion to this subgenre of rock music, may be best qualified to help determine the answer to this question…Once and For All!
I’m torn between a couple of Yes songs that may be helpful in starting this discussion, but I’m thinking the following may be met with the least resistance for at least beginning this dialog.
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