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For some time it’s been this way. When a band writes an album with an interconnecting theme, it immediately gets labeled a “concept album,” and the artist immediately denies that it’s a concept album. It’s an undeservedly dirty word in many circles of critics and hipsters, akin to “progressive rock” (the genre that has spawned the most concept albums) or “singer/songwriter.”

Sometimes, concept albums are the overblown, self-indulgent messes naysayers claim they are. Other times they’re brilliant, transcendent works. We all know The Who’s “Tommy” and “Quadrophenia” and Pink Floyd’s “Dark Side of the Moon” and “The Wall.” But what about some less ballyhooed conceptual pieces?

Phish, “Rift”

On paper, a jam-band concept album might sound like a trainwreck waiting to happen, but this loosely connected tale of self-doubt and the onset of adulthood works on many levels. Inspired by lyricist Tom Marshall’s then-impending wedding (“The pressure builds/ You buy a gift/  You’re hoping that your dread will lift,” Trey Anastasio sings in “Sparkle”), the music is knotty, dark and, yes, at times proggy. The conflicted would-be groom drifts off to sleep where he’s confronted with a series of metaphorical mazes.

Queensryche, “Operation Mindcrime”

One of hard rock/metal’s finest rock operas, complete with recurring characters and underlying themes of sex, religion, drugs and politics. There’s a confrontational anarchist vibe to the lyrics as well as some spooky religious imagery, all delivered inimitably by Geoff Tate. Chris DeGarmo deserves credit for much of the writing (and the band was never the same after he left).

Marillion, “Brave”

Arguably the British neo-prog band’s finest moment. Before joining the band, vocalist Steve Hogarth heard an appeal on radio for information regarding a young girl who was talked out of bridge jumping. She wouldn’t speak; she wouldn’t give her name. Years later, Hogarth wrote her a backstory of a broken home, running away and falling in with the wrong man. It might sound cliché on paper, but when set to the emotionally charged symphonic soundscapes , it soars.

Pink Floyd, “Animals”

It may seem odd to call anything by Pink Floyd “underrated,” but “Animals” (like “The Final Cut”) is often overlooked when discussing Floyd’s major achievements. Based on George Orwell’s symbolic tale of the same name, “Animals” is everything “Dark Side” and “The Wall” are not, namely succinct. There’s no choirs , guest musicians or segments that sound suitable for a film soundtrack. It’ s just Roger Waters, David Gilmour, Rick Wright and Nick Mason bashing out dark, expansive rock, truly sounding like comrades for the last time.
 

About the Author

Education
Penn State University, University Park
Bachelors degree: Journalism, English minor
Saint Joseph's University, Philadelphia
Masters of arts degree: Writing studies
Manchester University, Manchester, England
Communications

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The Weekender, LexisNexis Securities Litigation, ESPN.com, The Associated Press, Philadelphia Daily News, Philly Edge, Universitywire.com, The Daily Collegian

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Resides
Scranton

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