FOR WHAT IT’S WORTH

Prog’s Editor ponders: at what point does music lose its worth for the fans?

This column came about initially because of a Facebook post by one of the gentlemen to the right of this page, Stephen Lambe, discussing the abundance of 90s music available in charity and stock clearance shops compared with prog music. My ideas have since been enhanced by social media interaction with Prog readers, and then, lastly, Iron Maiden singer Bruce Dickinson recently brought up the subject of the worth of music in the face of current streaming trends, illegal downloading and the perceived worth of music. “People will pay for a book. But they won’t buy an album. That is really sad and that is wrong,” he said.

Alas, I’m not going to come up with the answer to the woes facing recorded music here. It will take a seismic shift in societal attitudes for anything positive to happen. It’s an issue that seriously affects many of the musicians you read about in these pages. Although I equally note that most people reading this will value the music they listen to dearly, and largely shy away from illegal downloading, much of this has got me wondering: at what point do people lose the value of the music they once held dear?

Like, I suspect, many of you, I enjoy a good nose through the CD sections of my local charity shops, but sometimes I’m amazed at what I find in there. One could, for example, probably complete Muse’s back catalogue in an afternoon’s browsing. Or perhaps Coldplay. Or Elbow. Or Paul Weller. Ignoring any derogatory comments on any of the bands’ musical style, these aren’t just your run-of-the-mill landfill indie acts. Certainly in the case of the former two, we’re talking about two global, arena-playing superstars (and, in the case of this mag, one perceived as a prog band, the other still popular with a section of our readers). And yet here they are, with albums they sweated over at £1 a pop.

It’s even worse for indie acts. Pop into your local pound emporium and you’ll find all manner of releases by the likes of Embrace, Starsailor, Snow Patrol, Keane, Razorlight, Cast… The list goes on. Chances are that none of these bands mean much to you. However, how long ago was it they were being fêted as the future of rock’n’roll by the music press? And how swift was their fall from grace, deserved or not?

While there is a certain element of pride (or annoyance when seeking a decent bargain) that prog as a genre very rarely crops up with anything remotely like regularity, it retains a much-sought demand and collectability.

Sure, downloading, age and even finances are all factors here. But equally it should be noted that, however low you view the musical worth of the bands mentioned, they once had their fanbase, they once graced major stages and the higher echelons of the charts. And look where they find themselves now.

I suspect many of you won’t fall into this category. At least, I hope you don’t. But a timely reminder of the pitfalls that can await even the most successful of musicians can never go amiss!

Got an opinion on the matter that you’d like to share? Please email us at: prog@futurenet.com.