Possibly the greatest myth surrounding rock, pop and all points in between is that music moves in a strictly demarcated linear fashion with distinct boundaries and cut-off points. Indeed, these are the narratives that push the notion that established musical ideas and forms become obsolete the moment the Next Big Thing arrives. But as anyone with a keen eye on popular culture will attest, the development is more akin to the flow of a powerful river; while it moves ahead towards the sea, it contains within it currents, tides and patterns of flow that frequently overlap and mingle without one, single dominant force at play. So it is that there are those whose ideas might be out of kilter with prevailing trends or even looking several generations ahead.
Ergo Bill Nelson, who allows himself a present-day chuckle as he recalls writing a spoof letter under the pseudonym Christian Spink to the . Pre-dating punk rock and partly inspired by the Futurist Manifesto that rejected the influence and reverence of and to the past in favour of modernity, and what was much later described as “the white heat of technology”,
