By Angelo Debarre, Samy Daussat
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For an interesting discussion of the kinds of conflicting pressures to which rock musicians are subject, especially with regard to what he refers to as a pop versus rock distinction, see Simon Frith, Sound Effects: Youth, Leisure, and the Politics of Rock 'n' Roll (New York: Pantheon, 1983), 61-88. 55. It is at least clear what direction four of the five members of Yes decided to take. Keyboardist Rick Wakeman left the group due to his own misgivings about the musical path the group was on. As mentioned above, Wakeman was replaced on Relayer by Swiss keyboardist Patrick Moraz.
For a detailed discussion of the punk-rock movement in Britain, see Dave Laing, OneChord Wonders: Power and Meaning in Rock (Milton Keynes: Open University Press, 1985). Greil Marcus was among the first to write about punk rock from the American side; see his "Anarchy in the UK," in The Rolling Stone Illustrated History, 594-607. 14. Of course, this return to the use of earlier and in many ways less sophisticated musical instruments was accompanied by a return to mid-1960s fashions. Perhaps the most extreme instance of this is the return of the beehive hairstyle sported by Cindy Wilson and Kate Pierson of the new-wave B-52s.
In this section, one might posit that the material realm (of the introduction) is transformed into the spiritual one, or, better, the spiritual nature of the material world is revealed through this transformation—-and all of this is supported in terms of the music itself. As in Hesse's novel, perhaps, one sits by the river and understands the ultimate unity of all things. The theme of timelessness is present in the lyrics of the bridge sections, as well as in the lyrics and the music of the B section.
Astuces de la guitare manouche by Angelo Debarre, Samy Daussat
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