Concept album

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This article is about the topic of concept albums. For albums named "Concept", see Concept (disambiguation) § Music and arts.

A concert stage in front of a wall with 2 levels. Five men stand on a balcony, including Roger Waters, who is saluting with his arm and is lit by a spotlight. On the lower level is a drum kit and a man playing guitar.
Roger Waters (saluting on top) leading a live performance of Pink Floyd's The Wall, one of the best-known concept albums of all time.[1]

A concept album is an album whose tracks hold a larger purpose or meaning collectively than they do individually.[2][3] This is typically achieved through a single central narrative or theme, which can be instrumental, compositional, or lyrical.[4] Sometimes the term is applied to albums considered to be of "uniform excellence" rather than an LP with an explicit musical or lyrical motif.[5] There is no consensus among music critics as to the specific criteria for what a "concept album" is.[3][6]

The format originates with folk singer Woody Guthrie's Dust Bowl Ballads (1940) and was subsequently popularized by traditional pop singer Frank Sinatra's 1940s–50s string of albums, although the term is more often associated with rock music.[7] In the 1960s several well-regarded concept albums were released by various rock bands, which eventually led to the invention of progressive rock and rock opera.

Definitions

There is no clear definition of a "concept album".

live albums.[10]

The most common definitions refer to an expanded approach to a rock album (as a story, play, or opus), or a project that either revolves around a specific theme or a collection of related materials.

rock operas as albums that are "unified by a theme, which can be instrumental, compositional, narrative, or lyrical. ... In this form, the album changed from a collection of heterogeneous songs into a narrative work with a single theme, in which individual songs segue into one another."[4]

Speaking of concepts in albums during the 1970s,

Sgt. Pepper intended", as well as "a species of concept that pushes a rhythmically unrelenting album like The Wild Magnolias or a vocally irresistible one like Shirley Brown's Woman to Woman, to a deeper level of significance."[12]

History

See also: Album era

1940s–50s: Origins

In the 2016 BBC documentary When Pop Went Epic: The Crazy World of the Concept Album, narrated by Rick Wakeman, it is suggested that the first concept album is Woody Guthrie's 1940 album Dust Bowl Ballads.[13] The Independent regards it as "perhaps" one of the first concept albums, consisting exclusively of semi-autobiographical songs about the hardships of American migrant labourers during the 1930s.[14] In the late 1940s, the LP record was introduced, with space age pop composers producing concept albums soon after. Themes included exploring wild life and dealing with emotions, with some albums meant to be played while dining or relaxing. This was accompanied in the mid 1950s with the invention of the gatefold, which allowed room for liner notes to explain the concept.[15]

Frank Sinatra in Capitol Records Studio A, 1956, during the recording of his album Songs for Swingin' Lovers!

Singer

musical comedy or opera. ... [He was the] first pop singer to bring a consciously artistic attitude to recording."[18][nb 1]

Singer/pianist

Nat "King" Cole (who, along with Sinatra, often collaborated with arranger Nelson Riddle during this era) was also an early pioneer of concept albums,[20] as with his Wild Is Love (1960), a suite of original songs about a man's search for love.[21]

1960s: Rock and country music

In the early 1960s, concept albums began featuring highly in American country music, but the fact went largely unacknowledged by rock/pop fans and critics, who would only begin noting "concept albums" as a phenomenon later in the decade,[22] when albums became closely aligned with countercultural ideology, resulting in a recognised "album era" and the introduction of the rock concept album.[23] The author Carys Wyn Jones writes that the Beach Boys' Pet Sounds (1966), the Beatles' Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and the Who's Tommy (1969) are variously cited as "the first concept album", usually for their "uniform excellence rather than some lyrical theme or underlying musical motif".[24]

Other records have been claimed as "early" or "first" concept albums. The Beach Boys' first six albums, released over 1962–64, featured collections of songs unified respectively by a central concept, such as cars, surfing, and teenage lifestyles.

Larry Starr, who identifies the Beach Boys' 1964 releases Shut Down Volume 2 and All Summer Long as heralding the album era, cites Pet Sounds as the first rock concept album on the basis that it had been "conceived as an integrated whole, with interrelated songs arranged in a deliberate sequence."[27]

The 100 Greatest Bands of All Time (2015) states that the Ventures "pioneered the idea of the rock concept album years before the genre is generally acknowledged to have been born".[28] Writing in his Concise Dictionary of Popular Culture, Marcel Danesi identifies the Beatles' Rubber Soul (1965) and the Who's The Who Sell Out (1967) as other examples of early concept albums.[29] Brian Boyd of The Irish Times names the Kinks' Face to Face (1966) as the first concept album: "Written entirely by Ray Davies, the songs were supposed to be linked by pieces of music, so that the album would play without gaps, but the record company baulked at such radicalism. It's not one of the band's finest works, but it did have an impact."[30]

"Popular consensus" for the first rock concept album, according to AllMusic, favours Sgt. Pepper.

Songs for Swinging Lovers), it was on the basis of the influence of Sgt. Pepper that the penchant for the concept album was born."[34][nb 3] Adding to Sgt. Pepper's claim, the artwork reinforced its central theme by depicting the four Beatles in uniform as members of the Sgt. Pepper band, while the record omitted the gaps that usually separated album tracks.[35] Music critic and journalist Neil Slaven stated that Frank Zappa's Absolutely Free, released the same day as Sgt. Pepper, was "very much a concept album, but The Beatles effortlessly stole his thunder", and subsequently Sgt. Pepper was hailed as "perhaps the first 'concept album' even though the songs were unrelated."[36]

1960s–70s: Rock operas and progressive rock

Main articles: Rock opera and Progressive rock
See also: Progressive soul
Genesis recreating their concept album The Lamb Lies Down on Broadway (1974) for a live performance. Band member Peter Gabriel is wearing a costume for one of the album's characters.

Author Bill Martin relates the assumed concept albums of the 1960s to progressive rock:

In discussions of progressive rock, the idea of the "concept album" is mentioned frequently. If this term refers to albums that have thematic unity and development throughout, then in reality there are probably fewer concept albums than one might first think. Pet Sounds and Sergeant Pepper's do not qualify according to this criterion ... However, if we instead stretch the definition a bit, to where the album is the concept, then it is clear that progressive rock is entirely a music of concept albums—and this flows rather directly of Rubber Soul (December 1965) and then Revolver (1966), Pet Sounds, and Sergeant Pepper's. ... in the wake of these albums, many rock musicians took up "the complete album approach."[37]

Hotel California (1976)."[2] In 2015, Rolling Stone ranked Dark Side of the Moon at number one among the 50 greatest progressive rock albums of all time, also noting the LP's stature as the second-best-selling album of all time.[39] Pink Floyd's The Wall (1979), a semi-autobiographical story modeled after the band's Roger Waters and Syd Barrett, is one of the most famous concept albums by any artist.[1] In addition to The Wall, Danesi highlights Genesis' The Lamb Lies Down on Broadway (1974) and Frank Zappa's Joe's Garage (1979) as other culturally significant concept albums.[29]

According to author Edward Macan, concept albums as a recurrent theme in progressive rock was directly inspired by the counterculture associated with "the

What's Going On) and George Clinton (the 1975 Parliament album Mothership Connection and Dope Dogs).[41][42]

1980s–present: Decline and return to popularity

With the emergence of MTV as a music video network which valued singles over albums, concept albums became less dominant in the 1980s.[2][6] Some artists, however, still released concept albums and experienced success in the 1990s and 2000s.[6][16] NME's Emily Barker cites Green Day's American Idiot (2004) as one of the "more notable" examples,[1] having brought the concept album back to high-charting positions.[43] My Chemical Romance’s The Black Parade (2006) is another example of a modern concept album. Dorian Lynskey, writing for GQ, noted a resurgence of concept albums in the 2010s due to streaming: "This is happening not in spite of the rise of streaming and playlists, but because of it. Threatened with redundancy in the digital era, albums have fought back by becoming more album-like."[44] Cucchiara argues that "concept albums" should also describe "this new generation of concept albums, for one key reason. This is because the unison between the songs on a particular album has now been expanded into a broader field of visual and artistic design and marketing strategies that play into the themes and stories that form the album."[9]

In the 21st century, the field of classical music has adopted the idea of the "concept album", citing such historical examples as Schubert's Winterreise and Schumann's Liederkreis as prototypes for contemporary composers and musicians.[45] Classical composers and performers increasingly adopt production and marketing strategies that unify otherwise disparate works into concept albums or concerts.[46] The classical music magazine Gramophone includes a special category for "concept album" in its annual "Recordings of the Year Awards", to celebrate "albums where a creative mind has curated something visionary, a programme whose whole speaks more powerfully than its parts. A thought-through journey, which compels to be heard in one sitting."[47][third-party source needed]

In a year-ending essay on the album in 2019, Ann Powers wrote for Slate that the year found the medium in a state of flux. In her observation, many recording artists revitalized the concept album around autobiographical narratives and personal themes, such as intimacy, intersectionality, African-American life, boundaries among women, and grief associated with death. She cited such albums as Brittany Howard's Jaime, Raphael Saadiq's Jimmy Lee, Jamila Woods' Legacy! Legacy!, Rapsody's Eve, Jenny Lewis' On the Line, Julia Jacklin's Crushing, Joe Henry's The Gospel According to Water, and Nick Cave's Ghosteen.[48]

See also

Notes

  1. ^ In the late 1940s, boogie-woogie and stride pianist Pete Johnson recorded an early concept album, House Rent Party (1946), in which he starts out playing alone, supposedly in a new empty house, and is joined there by other players. Each has a solo single backed by Johnson, and then the whole group plays a jam session together.[19]
  2. ^ Frank Zappa said that within Freak Out!, "It wasn't as if we had a hit single and we needed to build some filler around it. Each tune had a function."[32] The Beatles' John Lennon commented: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we said it worked."[33]
  3. Smile at the time. ... it would have suggested an entirely different possible line of development for the concept album, wherein parts of tracks reappeared in others producing a form frankly far more sophisticated than any of its contemporaries."[34]

Although concept albums have only been popularized and somewhat defined recently, the concept has existed far longer than rock. For example, Vivaldi's 'The Four Seasons', and Camille Saint-Saëns 'Le Carnaval des Animaux' (The Carnival of the Animals) are built upon the same idea of an overarching theme or concept, though they are not traditionally thought of as albums.

References

  1. ^ a b c Barker, Emily (8 July 2015). "23 of the Maddest And Most Memorable Concept Albums". NME. Retrieved 23 January 2017.
  2. ^ a b c d e Cullen 2001, p. 98.
  3. ^ a b Elicker 2001, pp. 227–229.
  4. ^ a b Shuker 2012, p. 5.
  5. ^ Jones 2008, p. 49.
  6. ^ a b c d e Sturges, Fiona (1 October 2009). "The return of concept album". The Independent. Retrieved 25 April 2016.
  7. ISBN 978-1-4408-3514-8
    .
  8. ^ Elicker 2001, p. 227.
  9. ^ a b Cucchiara, Romina (10 November 2014). "The Concept Album As a Performative Genre". PopMatters.
  10. ^ a b c Elicker 2001, p. 228.
  11. ^ a b "AllMusic Loves Concept Albums". AllMusic. 10 February 2014. Retrieved 25 April 2016.
  12. ISBN 0899190251
    . Retrieved 6 April 2019 – via robertchristgau.com.
  13. ^ Rick Wakeman (narrator) (6 May 2016). When Pop Went Epic: The Crazy World of the Concept Album (BBC documentary).
  14. ^ "The return of concept album". The Independent. 2 October 2009. Retrieved 16 November 2012.
  15. ^ McKnight-Trontz 1999, p. 10.
  16. ^ a b c Black, Johnny (5 March 1991). "A-may-zing". Q Magazine. 55: 33.
  17. ^ Rojek 2004.
  18. ^ Friedwald 1995.
  19. ^ Silvester, Peter, A Left Hand Like God, A Study of Boogie-Woogie, pp. 98-99
  20. ISBN 9780679768739
    , p. 1957
  21. ISBN 9780190882051
    , p. 305
  22. ^ Elicker 2001, p. 234.
  23. ^ Danesi 2017, p. 15.
  24. ^ Jones 2008, p. 44.
  25. ^ Leaf, David (1990). Little Deuce Coupe / All Summer Long (CD Liner). The Beach Boys. Capitol Records.
  26. ^ Smith 2009, p. xix.
  27. ^ Starr 2007, pp. 253–254, 265.
  28. ^ Moskowitz 2015, p. 689.
  29. ^ a b Danesi 2017, p. 72.
  30. ^ Boyd, Brian (4 June 2016). "The Beatles, Bob Dylan and The Beach Boys: 12 months that changed music". The Irish Times.
  31. ^ Riley 1988, p. 11.
  32. ^ Zappa & Occhiogrosso 1989, pp. 65–80.
  33. ^ Sheff 1981, p. 197.
  34. ^ a b Moore 2016.
  35. ^ Black, Johnny (April 1991). "Concept Albums: A-may-zing!". Q. Available at Rock's Backpages (subscription required).
  36. ISBN 978-0-85712-043-4
    .
  37. ^ Martin 2015, p. 41.
  38. ^ Zupko, Sarah. "The Pretty Things: S.F. Sorrow". PopMatters. Archived from the original on 23 June 2008. Retrieved 18 January 2009.
  39. ^ "50 Greatest Prog Rock Albums of All Time". Rolling Stone. 17 June 2015.
  40. ^ Macan 1997, p. 13.
  41. ^ Keister, Jay (2019). "Black Prog: Soul, Funk, Intellect and the Progressive Side of Black Music of the 1970s" (PDF). American Music Research Center Journal. 28: 5–22. Archived (PDF) from the original on 24 November 2020. Retrieved 29 January 2021 – via colorado.edu.
  42. ^ Amadour (16 December 2022). "15 Minutes with George Clinton". Lamag - Culture, Food, Fashion, News & Los Angeles.
  43. ^ "The Top 10 Concept Albums of All Time". Guitar World. 26 October 2015. Archived from the original on 2 August 2017. Retrieved 27 January 2017.
  44. ^ Lynskey, Dorian (13 July 2015). "Why everyone from Beyoncé to Daft Punk is releasing a concept album". GQ. Retrieved 25 April 2016.
  45. ^ Shuker 2017, p. 10.
  46. ^ Bennett, Dawn and Diana Blom. "Pinching (or taking back) ideas from popular music: Placing the concept album in contemporary classical music". Academia.edu. Retrieved 11 December 2019.
  47. ^ Cullingford, Martin. "Concept Album". Gramophone. Retrieved 11 December 2019.
  48. ^ Powers, Ann (17 December 2019). "The album is evolving". Slate. Retrieved 15 September 2020.

Bibliography

Further reading

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