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Cerebral?
Yeah. "What is he thinking about, man?" Rock and roll, even up through the end of the '60s, was pretty straightforward - just on the emotional level. You turned it on and you liked it, and everyone knew why you liked it. It was obvious. And if you didn't like the Cowsills, that was obvious, too. And everybody who liked Zeppelin probably didn't like the Cowsills - or the Partridge Family. Jazz gets into all those other things - the writing or the structure or the blah, blah, blah. And for the past 30 years - maybe a little less - rock and roll has had far too much of that same language attached to it. There's where I go, "What the hell is that?" Then I'll read some critic loving it, and they're saying all these things, and I'm going, "Huh?" The simple rule, I'd say, is, doesn't a song have to have a melody, and not just poetry, to be called a song? But the critic will be raving over the poetry, even though the melody has maybe one and a half notes.
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