While searching for dad rock’s rhetorical roots, I reached out to Simon Reynolds, the best and probably most famous British rock critic of the last twenty-five years. (He’s certainly the best and most famous British rock critic for whom I had an email address.) I fired off a terse, half-baked, five-sentence email asking if he remembered hearing fellow writers use “dad rock” back in the nineties. Forty minutes later, Reynolds replied with a pithy four-hundred-word response that could’ve appeared with minimal editing in a special dad-rock issue of Uncut. This man produced insightful music
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