The Craze Begins!
Tommy sparked a chain reaction that lead to the creation of many more operas, some of them successful, others not. It should be noted here that the Kinks, a band that was an influence and inspiration for the (early) Who, became inspired by the latter's work (and success) and created their own rock operas with the most notable one being "Arthur (Or the Decline and Fall of the British Empire)" an album released only months after "Tommy". The album is an example of great "oldies" craftsmanship, with Ray Davies' (lead singer) influence being very evident as the album is centered around the British themes that he loved so much. Folkish tunes and mind crushing rock n roll intertwined to produce an amazing result (just listen to Shangri-La). The story is good too, detailing the struggle of a man after he decides to leave home and emigrate to Australia in pursuit of a better life. The effects of war on mortals is also mentioned here. The music can appeal to anyone: Romantic, powerful and laid back songs are there for the pleasure of even the most demanding audience. The album is also anthemic at times with "Some Mother's Son" being a real protest against war. This is an album of its era, just like Tommy, dealing with problems faced by the people and expressing them beautifully. But it's more mature and realistic as Davies is summarizing the lives and times of every man on earth in just twelve songs, a very ambitious undertaking that every self respecting music fan is glad that was attempted. It is far above the nostalgic "The Village Green Preservation Society" of 1968 (more of a concept album than an opera).
Tommy's impact still echoed and Andrew Lloyd Webber was able to hear it very clearly. The result was the equally well known opera and musical, "Jesus Christ Superstar". But that didn't matter as much for the rock world. What really mattered was the release of " The Rise and Fall of Ziggy Stardust and the Spiders from Mars", by the rock prodigy David Bowie. The earth is about to end, and rock n roll star Ziggy must save the day. What follows is a true glam rock festival, with Ziggy starting to give hope to the people (an obvious reference to the hippy era), and then "making love with his ego", echoing the darker side of stardom. This futuristic and heavily instrumented extravaganza is a good one, perhaps the best album Bowie has ever made. It is quite experimental as well with hard rock being mixed with some of the most pretensions pop ever recorded and psychedelic elements meeting classical music. Bowie's singing is a very good vocal experience, and the songs are loaded with memorable riffs and hooks ("Starman" and "Ziggy Stardust" are good examples). Rock n roll purists would say something about pretentiousness, but despite this element being obvious (perhaps too obvious) in Bowies works, this is something very different that succeeds in being an album larger than life.
Thick as a Brick
Jethro Tull attempted to create something of a rock opera in 1972. After the very successful "Aqualung", the weird band with its weirder flute loving singer, was ready for something new. Now, I really hate when I disagree with some of the best rock critics (who hate prog rock), but I have no choice. This album is a progressive rock heaven. It's very artsy, with classical music and folk being there not just for the sake of it (as in "Ziggy") but actually transforming Tull's hard rock into something that can make anyone think about the themes and images it presents (and there are tons of them). There is only one song in that album (actually two, but blame the old records for not being able to store more info on one side only), drawing elements from all genres of music in existence, with instruments such as brass ones and even a harpsichord that is actually put into good use. But it gets even better. The reason why this complexity is so prominent, is not because the band wanted to satisfy its own needs, but it was an attempt to mock the whole progressive movement, by using the movements own elements in order to humiliate it. So it's a satire, a think piece about adolescence and god-knows-what-else, but also a pleasant listen, despite its length.
The Who strike Back
Townshend's obsession with rock operas is a fact. His failed "Lifehouse" project, a complex futuristic drama (which was then molded into "Who's Next") showed what his vision was. But he would get his revenge in 1973 with "Quadrophenia", a different and more complex opera, that could be considered even better than "Tommy" by hardcore fans and critics alike. Its sad story is not trying to convey some message, in fact it is just trying to describe the story of a boy who is "quadrophenic", which means that his personality is split in four parts, each part representing a member of the band. This is a bit too much for the average listener, especially if we consider that the story is not as simple as Tommy's . There are many depressing moments in the album with the central character experiencing mood swings and drug abuse, happiness but also failure, love and rejection. The instrumental "Quadrophenia", with its shifting dynamics, is the best that Townshend has ever composed, just slightly above "The Rock" which is in the same album. One of the most emotional songs of the Who is also there, called "I've had enough" signaling the albums dramatic peak, the protagonist's emotional outbreak. There is spirituality there as well, with "Love, Reign O'er Me" reflecting the ideas of Meher Baba (Townshend's religious mentor) about God's blessings. Bassist John Entwistle also shines here, especially in "The Real Me". Daltrey delivers a great vocal performance that fits well with the album's alternating themes and story. The album is not as anthemic as "Tommy", but it manages to deliver a great story. Memorable line: "If you let 'em do it to you, you've got yourself to blame". The message of this creation is that even after all the bad luck and depression a man can go through, he can always find peace in spirituality. A bit too subjective, but at least it's emotionally charged enough to make one think (a lot).
But the Kinks also strike back (but they fail)
The Kinks made many attempts to achieve the status of their other British peers (namely the Stones and the Who), and they really succeeded with "Lola" a majestic concept album that gave them a place in the rock pantheon. There were many other concept albums, but "Percy" was the real opera (but also the soundtrack a silly movie). There are many good, mellow songs in that album, with "Completely" being the best among them. The movie was a bad one though, so what we have here, is a compilation of songs about a penis transplant, reducing the album's quality to almost zero. At least Davies is a good musician.
But unfortunately their failures don't stop there. Davies became quite obsessed with making a complex album detailing how life itself works (didn't he do that with "Arthur"?). Yes, I'm talking about "Preservation". The first part to this attempt is "Preservation: Act 1". Unstable is word that fits here as the album is a roller coaster ride, going from good to bad, and back again. There are the classic, laid back Kinks tunes (always present throughout their career), such as the memorable "Sitting in the Midday Sun". But the rest of the album is just weaker, and to make matters worse, it doesn't make any sense: some obscure characters and hints about the story, without actually saying anything.
"Act 2" looks more promising at first. You'd expect that after the characters were introduced, the story would unfold more naturally. It doesn't. Conflicting themes and quasi-theatrical production values, that are miserably hidden in a murk of bad songs. Blame Davies' psychological situation at the time (1974), or say something about how it was not his fault. Too sad that it was...
At this point the Kinks seem to have hated their fans. "Soap Opera" (1975) is even worse. There are a few good songs, a larger amount of crappier ones, molded into some boring tale about how modern society isolates man, as experienced by a deity that takes the place of a human.
"Schoolboys in Disgrace" was released that year as well, with Davies attacking education with really bad songs. No point to discuss this any further.
What is really interesting about these operas is the fact that they were also performed as theatrical plays and musicals by the band itself. They Kinks may have failed to make good albums but they really deserve some credit for being able to transform them into enjoyable theatrical performances.
Other Operas
I can't ignore the social/political message of Zappa's "Joe's Garage" in which he expresses his opposition to the Iranian "revolution" (revolutions are supposed to be about the betterment of society, right?), in his well known satirical way. Nothing escapes Zappa's radar, as hippies, politicians, western culture and oppression are made fun of, while being exposed of their basic (and according to Zappa, negative) elements. Experimental solos and great production value are always present just like we'd expect from the musical genius. Thinking man's rock at its best. I should also mention Lou Reed's "Berlin", but I shouldn't since the angsty, drug-dense atmosphere, and book derived themes, all set in a rotting, soul torturing Berlin, are reduced to dust by Reed's over-ambition.
The Wall
What a great album! It really expanded the Pink Floyd's fanbase, and for a good reason. It's a great opera, perhaps the best the world has seen since "Quadrophenia" (as a concept), with story actually being better and full of symbolism. The wall itself is the reflection of the protagonists mental condition. Abused by his mother, growing up without a father figure and suffering in an oppressing school environment, the central character (Pink) eventually hides behind his metaphorical wall, enters an endless cycle of self hate and is eventually freed from his troubles (much like the boy in "Quadrophenia"). What makes the story better is that this is not something focused in spiritual trips and dying subcultures, but is instead a statement about the power that lies in each one of us. It is also a musical statement, with echoey effects, strange vocals and choirs, giving the album unique characteristics that will make it stand out forever. "Comfortably Numb" attacks the isolation that society brings and deifies pure emotion and innocence. Be sure to admire the elegant "Nobody Home" and the chilling "Outside the Wall" (just be sure to listen to the whole album before listening to the last one). Now as for the drawbacks: There are bricks in this wall, but nothing to hold them together. What I mean is that it can feel awfully segmented at times, and even weak as some song feel unnecessary and boring. Thank god, that the longer tracks, with their careful instrumentation and artistic glory, manage to hide most of those weak moments. Add the fact that its also inspired by the band itself, especially Roger Waters, and you're dealing with Pink Floyd's best work, and perhaps the best rock album of the late 70s.
Metallic Experiments
Some metal artists always like to do weird and artsy stuff without caring whether they are out of fashion or not. That's why we must thank them for not letting the operas die. A special thanks to Queensryche and their amazing "Operation: Mindcrime". The story is a bit too 80s, extravagant and pretentious, but it is so in a similar way as "Ziggy" was, so it's interesting. It's a fairytale about drugs, manipulation and love, much like modern movie plots. What is really interesting is the band's fascination with revolution in a time that most of them were over. "Revolution Calling" and what follows next is the "Won't Get Fooled Again" of its time, saying that while ispirational leaders can change the world, there is always the chance of complete disaster. This disaster is what the opera deals with while unleashing some great heavy metal music, progressive enough to convince everyone about its seriousness.
Many more metal artists, especially the prog virtuosoes, followed this path, with Dream Theater ("Scenes from a Memory") and "My Arms, Your Hearse" by Opeth being examples of good metal operas. The problem with these operas is that metal is not as popular and respected so most critics usually ignore these great albums.
Epilogue
What lies in the future, though? That is an interesting question. I think that we are going to witness a gradual rise in their popularity especially since hip hop artists seem to have an interest in the genre. Furthermore many popular bands, such as the Dropkick Murphys are constantly flirting with concept albums (see "Going Out in Style"). In fact punk operas would be a great development, but I don't want to get my (or anyone else's) hopes up... I don't think that the formula is going to die, simply because it had been so successful in the past and because it allows people to think and express their thoughts in different ways than conventional albums do.