Stadium Rock

Discussions have arisen concerning the renewed appeal of AOR, pomp rock and stadium rock, which has steadily grown as the self-effacing ironies of the misbegotten ’90s fade into the trash can of history, and people re-embrace dynamism and heroism from their performers. A recent thread on this phenomenon aroused the following enthusiasm from yours truly.

AOR/melodic rock and west coast/soft rock have become the areas of Anglophone music spanning the late ’70s through mid ’80s that I’m most enthused about now that I’m in my thirties. Funny enough, I hated this stuff in my teens when I was a full-fledged punk/new waver. Now I’ve mostly lost passion for the latter, save for the divine rarity of ‘pomp wave’ (The Stranglers, Ultravox, Magazine), the distinguished stylists of the NuRo/synthpop movement (John Foxx, Gary Numan, Dalek I) and the lifelong charms of the Second British Invasion. The more abrasive, amateurish and mopey purveyors of punk and post-punk (i.e. hardcore, alt. rock and anything produced by Martin Hannet) tend to really get on my nerves nowadays.

But onto some AOR…

Silver Shoes said: I always liked “Feel It Again” and “What Does It Take” [by the Honeymoon Suite].

Side one of Honeymoon Suite‘s 1985 The Big Prize LP is totally awesome, with “Bad Attitude” and “Lost and Found” lending further exhilarating blasts of Night Ranger-esque pomp rock superpower. Canuck contemporaries Glass Tiger were another great band of like-mind, forging a unique brand of martial-tinged pomp rock on their Thin Red Line LP, which they contrarily plugged with the two most uncharacteristic songs, “Don’t Forget Me (When I’m Gone)” and “Someday”.


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