u/Odd-Loquat-3340

For certain Rock or Prog bands, are some of their more conceptual works worthy of consideration as 'serious music'? I am thinking at a level such as Mozart's 'Requiem' or Stravinsky's 'Rite of Spring' or Mahler's 'Resurrection Symphony'? Historically, many serious works were laughed or booed off the stage at the time of their creation, but were later respected as significant, even genre-changing.

Perhaps important Rock music is gaining respect from serious, musically educated, scholastic types such as college educators, symphonic music publications, critics, and reviewers. Would anyone agree? If not, how long does it take for a 'new' genre to gain acceptance?

An example of what I would consider an important work would be 'The Lamb Lies Down on Broadway' by Genesis (1974). Others would surely offer 'Close to the Edge' by Yes (1972) or 'The Power and the Glory' by Gentle Giant (1974). 'Crime of the Century' by Supertramp (1974) might be a good example.

Plot summary from an essay of the same name posted on the publishing site 'Medium' (free access):

1. We see Side One as setting the stage in NYC. It shows the hero, Rael, as a gangland kid searching for respect. When a ‘wall of death’ emerges, he is the only one to see it and is apparently unsuccessful in trying to outrun it. The collision sets off a nightmarish journey of discovery as to what is real within himself. The events symbolize his feelings of being trapped by society and then spinning out of control.
2. Side Two starts with a series of flashbacks that illustrate his previous cruel actions and lack of empathy. It shows feelings of victimhood and a lack of success in his search for love. Reaching into his chest, Rael pulls out his hairy heart and shaves it off. The scene reveals the album’s surreal aspects and Rael’s new understanding that he is not in touch with his emotions. As he follows others into a chamber having many doors but no exit, he resigns to his fate and sits despondent.
3. Opening the Third Side, Rael asks for help for the first time. Ironically, blind Lilith shows him a way out of the chamber, but leaves him in a chaotic ‘waiting room’ which leads to an encounter with an undertaker. After dancing with Death, he arrives at a pool. It is the lair of the Lamia. Entering the water, he makes love and unwittingly kills them. Upon eating their now dead bodies, he experiences a deep sorrow for their loss.
4. The Fourth Side finds him arriving in the land of the degenerate Slippermen who ask him to join in. He refuses. He heroically passes this test of his values. But Rael and his brother (John is now next to him) have no way out except to be castrated. Now impotent, Rael searches for an exit. He rejects a portal back to NYC when he hears John below in the rapids screaming for help. Rael risks his life to pull John from the water, but then finds his brother is himself. Thus united, he joyously knows what ‘it’ is. Triumphant music fades to end the album.

Accepting his worthless brother, who is actually himself, now makes Rael whole as he understands what it is to be truly human and fully alive. This union may show his Ying and Yang in balance, and Rael is now ‘complete’.

Below is a link to an essay about this epic concept album. This piece presents insights into the album's meaning and everything you might want to know (and probably more, LOL) about Genesis and their concept album 'The Lamb Lies Down on Broadway'. Spoiler Alert: It is exhaustive!

https://preview.redd.it/jt0rb04j60hh1.jpg?width=700&format=pjpg&auto=webp&s=e70cbfaa503263f3d3e7ff4a30f6681c8c90e0da

https://medium.com/@rickkress/revised-the-lamb-lies-down-on-broadway-nightmare-or-nirvana-7cee7caa2b4e?sharedUserId=rickkress