Concept Albums: Does Anyone Care About The Concept?

[Soot and Stars]

I've just noticed Soot and I have both used the word gibberish in the context of concept albums.

Two of the best "concept albums" IMO are APP's Tales of Mystery and Imagination and The Turn of a Friendly Card.

I don't think either one are APP's best work. That title goes to iRobot. However, these two albums are probably the best examples of tight concepts that you can actually hear when you listen to the songs in order as they were meant to be heard.

Big Ears, it sounds like that word is just naturally synonymous with the genre! BTW, I like the one album I own from Ayreon but once again it's musical and I have no interest in the subject matter. Usually a large number of these concept albums become apocalyptic for some reason!

Aero, I like the Alan Parsons sound. I like the first album you listed. I found it in LG's thread years ago. I own the second one you listed as we. I don't know what they are singing about but it's a very relaxing band to listen to.

 

[Phil B.]

I've always enjoyed Queensryche's Operation Mindcrime.

 

[Big Ears]

The Moody Blues made a few:

Days of Future Passed
In Search of the Lost Chord
On the Threshold of a Dream
To Our Children's Children's Children
A Question of Balance

Pink Floyd:

Dark Side of the Moon
Wish You Were Here
Animals
The Wall
The Final Cut
The Division Bell

ELP:

Tarkus
Brain Salad Surgery

Yes:

Tales from Topographic Oceans

Genesis:

From Genesis to Revelation
The Lamb Lies Down on Broadway

Gentle Giant:

In a Glass House
Interview
The Power and the Glory
Three Friends

 

[Musikwala]

Dark Side of the Moon
Wish You Were Here
Animals
The Division Bell

Wow how could I forget about those?! They're all favourites.

 

[Hurdy Gurdy Man]

The concept album can only work in a case where the writer(s) have at least somewhat of a reasonable grasp on how to tell a story,other than merely eschewing a few sketchy items about a story line and combining the effort with some alluring musical hooks.Even in better know cases such as "Tommy" and "The Wall",there can be a tendency for the author(s) to belabor their fictional points,as evidenced by the fact that these releases were chosen for double release status.There need to exist certain literary qualities outside the artists' ability to underscore his points with intriguing instrumental interlude.Bottom line is,someone who seems more than adequately adept at musical endevour may not necessarily possess the chief charactertistics of a true story teller.Granted not everyone will prove to be a Mark Twain in this category,but there must be some certain level of ability to convey action and moral together with sonic accompaniment enough to engage the listener significantly in both.Anyone could concoct a general idea around which to construct a good concept,but there's not always enough worthwhile detail in the fiction underneath music that only exhibits wasteful pretention

 

[Khor1255]

I think the best example of concept albums (or the whole rock opera concept for that matter) are the three best know Rush concept albums.

Caress of Steel
2112
Hemispheres

Each of these presented their concept in a concise method never deviating very far from the main theme. Lyrically they are almost as beautiful as the music and each present a story as approachable and clearly wrought as any good poem or even prose story.
That said, I don't think this level of crystallization is necessary to produce a really good concept album. The more far out or loosely defined the subject handled the better this 'smoke and mirrors' approach might work. I think many concept albums go only half way because either the guy who pushes the concept doesn't have a very clear overall 'script' in mind or because the rest of the band either doesn't get it or actively pushes against it. This can actually create a better album than the initial concept though so the entire subject has always been pretty fascinating to me.

So, in answer to the initial question I think I care about the concept as much as I care about any lyrical component of a song. It can add to the overall attraction of the piece but isn't really necessary in the grand scheme of things. As much as I adore the idea and love a great concept album nothing lyrically is ever going to be as important as the music that encases this poetic trapping. I really love songs with bad lyrics just as I really love albums with idiotic or half wrought concepts.

It don't mean a thing if it ain't got that swing.

 

[Riff Raff]

I for one enjoy many concept albums and do at times read a bit behind what the concept is they are writing about in the lyrics and music. I'd be lying to myself to say I only care for the musical side of it.

 

[Magic]

I wonder how many of you have heard Willie Nelson's Red Headed Stanger album?


This is probably one of the best stories ever written to music....and is deserving a stage adaptation just like Jesus Christ Superstar was adapted to stage.

 

[Mr. Shadow]

Have we already forgotten these?

The Who - Tommy (Full Album)


The Who - Quadrophenia (Full Album)

 

[Aero]

Aero, I like the Alan Parsons sound. I like the first album you listed. I found it in LG's thread years ago. I own the second one you listed as we. I don't know what they are singing about but it's a very relaxing band to listen to.

Turn of a Friendly Card is loosely based on the story of a middle-aged man who grows restless and decides to risk all his money at a casino.

Side one
"May Be a Price to Pay" (Lead vocal: Elmer Gantry (Dave Terry)) – 4:58
"Games People Play" (Lead vocal: Lenny Zakatek) – 4:22
"Time" (Lead vocal: Eric Woolfson; backing vocal: Alan Parsons) – 5:04
"I Don't Wanna Go Home" (Lead vocal: Zakatek) – 5:03

Side two
"The Gold Bug" (Instrumental) – 4:34
"The Turn of a Friendly Card" – 16:24
"The Turn of a Friendly Card (Part One)" (Lead vocal: Chris Rainbow) – 2:44
"Snake Eyes" (Lead vocal: Rainbow) – 3:14
"The Ace of Swords" (Instrumental) – 2:57
"Nothing Left to Lose" (Lead vocal: Woolfson) – 4:07
"The Turn of a Friendly Card (Part Two)" (Lead vocal: Rainbow) – 3:22