ABSTRACT
This final chapter is summative; it also provides a more focussed evaluation of several topics found threaded throughout the earlier chapters. One such topic relates to the influence and practices of music journalism during the late 1960s and early 1970s. Whereas the references and arguments presented in earlier chapters attempt to redress the partisan denigrations of the music press, here, some of the reasons behind that anti-Status Quo stance are exposed and debated. An appraisal of the performance style and influence of original band members Frances Rossi, Rick Parfitt, Alan Lancaster and John Coghlan is also covered—the latter two providing fascinating insights into those styles through original interviews with the author. Finally, the wider influence of Status Quo is explored, noting specific fan rituals and the penchant for Status Quo-influenced stylisations evidenced in a wide range of contemporary bands and artists such as David Bowie, Hawkwind, Slade, Sweet and Judas Priest. Those stylisations include re-contextualised 12-bar riffs, boogie-shuffle numbers and guitar-centric coordinated stage moves.
