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Wikipedia

Progressive rock

February 06, 2023

For the radio format, see Progressive rock (radio format).
"Classical rock" redirects here. For "classic rock" as a radio format, see classic rock. For other uses, see Classic Rock (disambiguation).

Progressive rock (shortened as prog rock or simply prog; sometimes conflated with art rock) is a broad genre of rock music[8] that developed in the United Kingdom and United States through the mid- to late 1960s, peaking in the early 1970s. Initially termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more frequently associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening rather than dancing.

Progressive rock is based on fusions of styles, approaches and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, the scope of progressive rock is sometimes limited to a stereotype of long solos, long albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. While the genre is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, and only a handful of groups, such as Emerson, Lake & Palmer, purposely emulated or referenced classical music.

The genre coincided with the mid-1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. It saw a high level of popularity in the early-to-mid-1970s, but faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline.[9] Music critics, who often labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to completely ignore it.[10] After the late 1970s, progressive rock fragmented in numerous forms. Some bands achieved commercial success well into the 1980s (albeit with changed lineups and more compact song structures) or crossed into symphonic pop, arena rock, or new wave.

Early groups who exhibited progressive features are retroactively described as "proto-prog". The Canterbury scene, originating in the late 1960s, denotes a subset of progressive rock bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, and when combined with the Canterbury style, created avant-prog. In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid-1970s.

Definition and characteristics

Further information: Progressive music

Scope and related terms

See also: Progressive pop and Art rock

The term "progressive rock" is synonymous with "art rock", "classical rock" (not to be confused with classic rock), and "symphonic rock".[11] Historically, "art rock" has been used to describe at least two related, but distinct, types of rock music.[12] The first is progressive rock as it is generally understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach.[12][nb 1] Similarities between the two terms are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more likely to have experimental or avant-garde influences.[14] "Prog" was devised in the 1990s[15] as a shorthand term, but later became a transferable adjective, also suggesting a wider palette than that drawn on by the most popular 1970s bands.[16]

Progressive rock is varied and is based on fusions of styles, approaches, and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music, performance and the moving image.[17] Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes.[18] When the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock",[19][nb 2] with the term "progressive" referring to the wide range of attempts to break with standard pop music formula.[21] A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic; technology was harnessed for new sounds; music approached the condition of "art"; some harmonic language was imported from jazz and 19th-century classical music; the album format overtook singles; and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.[22]

One of the best ways to define progressive rock is that it is a heterogeneous and troublesome genre – a formulation that becomes clear the moment we leave behind characterizations based only on the most visible bands of the early to mid-1970s

– Paul Hegarty and Martin Halliwell[17]

Critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill.[23] While progressive rock is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree,[24] and only a handful of groups purposely emulated or referenced classical music.[17] Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s, particularly on Internet forums dedicated to prog.[15]

According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about progressive rock while "effectively accept[ing] the characterization of progressive rock offered by its critics. ... they each do so largely unconsciously."[23] Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock.[18] Author Kevin Holm-Hudson agrees that "progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics."[25]

Relation to art and social theories

See also: Formalism (music) and Eclecticism in music

In early references to the music, "progressive" was partly related to progressive politics, but those connotations were lost during the 1970s.[15] On "progressive music", Holm-Hudson writes that it "moves continuously between explicit and implicit references to genres and strategies derived not only from European art music, but other cultural domains (such as East Indian, Celtic, folk, and African) and hence involves a continuous aesthetic movement between formalism and eclecticism".[26][nb 3] Cotner also says that progressive rock incorporates both formal and eclectic elements, "It consists of a combination of factors – some of them intramusical ('within), others extramusical or social ('without')."[28]

One way of conceptualising rock and roll in relation to "progressive music" is that progressive music pushed the genre into greater complexity while retracing the roots of romantic and classical music.[29] Sociologist Paul Willis believes: "We must never be in doubt that 'progressive' music followed rock 'n' roll, and that it could not have been any other way. We can see rock 'n' roll as a deconstruction and 'progressive' music as a reconstruction."[30] Author Will Romano states that "rock itself can be interpreted as a progressive idea ... Ironically, and quite paradoxically, 'progressive rock', the classic era of the late 1960s through the mid- and late 1970s, introduces not only the explosive and exploratory sounds of technology ... but traditional music forms (classical and European folk) and (often) a pastiche compositional style and artificial constructs (concept albums) which suggests postmodernism."[31]

History

For a chronological guide, see Timeline of progressive rock.

1966–1970: Origins

Further information on the origins of progressive rock from the perspective of its early synonyms: Progressive pop § Origins, and Art rock § Origins

Background and roots

See also: Progressive jazz
 
The Beatles working in the studio with their producer George Martin, circa 1965

In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock.[32] Progressive rock was predicated on the "progressive" pop groups from the 1960s who combined rock and roll with various other music styles such as Indian ragas, oriental melodies and Gregorian chants, like the Beatles and the Yardbirds.[33] The Beatles' Paul McCartney said in 1967: "we [the band] got a bit bored with 12 bars all the time, so we tried to get into something else. Then came Dylan, the Who, and the Beach Boys. ... We're all trying to do vaguely the same kind of thing."[34] Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). In this period, the popular song began signalling a new possible means of expression that went beyond the three-minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics.[35][nb 4]

Hegarty and Halliwell identify the Beatles, the Beach Boys, the Doors, the Pretty Things, the Zombies, the Byrds, the Grateful Dead and Pink Floyd "not merely as precursors of progressive rock but as essential developments of progressiveness in its early days".[37] According to musicologist Walter Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul (1965) and Revolver (1966) "encouraged a legion of young bands that were to create progressive rock in the early 1970s".[38] Dylan's poetry, the Mothers of Invention's album Freak Out! (1966) and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) were all important in progressive rock's development.[14] The productions of Phil Spector were key influences,[39] as they introduced the possibility of using the recording studio to create music that otherwise could never be achieved.[40] The same[vague] is said for the Beach Boys' Pet Sounds (1966), which Brian Wilson intended as an answer to Rubber Soul[41] and which in turn influenced the Beatles when they made Sgt. Pepper.[42][43]

Dylan introduced a literary element to rock through his fascination with the Surrealists and the French Symbolists, and his immersion in the New York City art scene of the early 1960s.[44] The trend of bands with names drawn from literature, such as the Doors, Steppenwolf and the Ides of March, were a further sign of rock music aligning itself with high culture.[45] Dylan also led the way in blending rock with folk music styles. This was followed by folk rock groups such as the Byrds, who based their initial sound on that of the Beatles.[46] In turn, the Byrds' vocal harmonies inspired those of Yes,[47] and British folk rock bands like Fairport Convention, who emphasised instrumental virtuosity.[48] Some of these artists, such as the Incredible String Band and Shirley and Dolly Collins, would prove influential through their use of instruments borrowed from world music and early music.[49]

Pet Sounds and Sgt. Pepper

Main articles: Pet Sounds and Sgt. Pepper's Lonely Hearts Club Band

Many groups and musicians played important roles in this development process, but none more than the Beach Boys and the Beatles ... [They] brought expansions in harmony, instrumentation (and therefore timbre), duration, rhythm, and the use of recording technology. Of these elements, the first and last were the most important in clearing a pathway toward the development of progressive rock.

– Bill Martin[50]

Pet Sounds and Sgt. Pepper, with their lyrical unity, extended structure, complexity, eclecticism, experimentalism, and influences derived from classical music forms, are largely viewed as beginnings in the progressive rock genre[51][52] and as turning points wherein rock, which previously had been considered dance music, became music that was made for listening to.[53][50] Between Pet Sounds and Sgt. Pepper, the Beach Boys released the single "Good Vibrations" (1966), dubbed a "pocket symphony" by Derek Taylor, the band's publicist. The song contained an eclectic array of exotic instruments and several disjunctive key and modal shifts.[54] Scott Interrante of Popmatters wrote that its influence on progressive rock and the psychedelic movement "can't be overstated".[55] Martin likened the song to the Beatles' "A Day in the Life" from Sgt. Pepper, in that they showcase "the same reasons why much progressive rock is difficult to dance to".[56]

Although Sgt. Pepper was preceded by several albums that had begun to bridge the line between "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture[57] and marked the point at which the LP record emerged as a creative format whose importance was equal to or greater than that of the single.[58][nb 5] Bill Bruford, a veteran of several progressive rock bands, said that Sgt. Pepper transformed both musicians' ideas of what was possible and audiences' ideas of what was acceptable in music.[60] He believed that: "Without the Beatles, or someone else who had done what the Beatles did, it is fair to assume that there would have been no progressive rock."[61] In the aftermath of Sgt. Pepper, magazines such as Melody Maker drew a sharp line between "pop" and "rock", thus eliminating the "roll" from "rock and roll" (which now refers to the 1950s style). The only artists who remained "rock" would be those who were considered at the vanguard of compositional forms, far from "radio friendly" standards, as Americans increasingly used the adjective "progressive" for groups like Jethro Tull, Family, East of Eden, Van der Graaf Generator and King Crimson.[62]

Proto-prog and psychedelia

Main articles: Proto-prog, Psychedelic rock, and Acid rock
See also: Rock opera and Canterbury scene

According to AllMusic: "Prog-rock began to emerge out of the British psychedelic scene in 1967, specifically a strain of classical/symphonic rock led by the Nice, Procol Harum, and the Moody Blues (Days of Future Passed)."[63] The availability of newly affordable recording equipment coincided with the rise of a London underground scene at which the psychedelic drug LSD was commonly used. Pink Floyd and Soft Machine functioned as house bands at all-night events at locations such as Middle Earth and the UFO Club, where they experimented with sound textures and long-form songs.[64][nb 6] Many psychedelic, folk rock and early progressive bands were aided by exposure from BBC Radio 1 DJ John Peel.[67] Jimi Hendrix, who rose to prominence in the London scene and recorded with a band of English musicians, initiated the trend towards guitar virtuosity and eccentricity in rock music.[68] The Scottish band 1-2-3, later renamed Clouds, were formed in 1966 and began performing at London clubs a year later. According to Mojo's George Knemeyer: "some claim [that they] had a vital influence on prog-rockers such as Yes, The Nice and Family."[69]

Symphonic rock artists in the late 1960s had some chart success, including the singles "Nights in White Satin" (the Moody Blues, 1967) and "A Whiter Shade of Pale" (Procol Harum, 1967).[70] The Moody Blues established the popularity of symphonic rock when they recorded Days of Future Passed together with the London Festival Orchestra, and Procol Harum began to use a greater variety of acoustic instruments,[importance of example(s)?] particularly on their 1969 album A Salty Dog.[71] Classical influences sometimes took the form of pieces adapted from or inspired by classical works, such as Jeff Beck's "Beck's Bolero" and parts of the Nice's Ars Longa Vita Brevis. The latter, along with such Nice tracks as "Rondo" and "America", reflect a greater interest in music that is entirely instrumental. Sgt. Pepper's and Days both represent a growing tendency towards song cycles and suites made up of multiple movements.[71]

Focus incorporated and articulated jazz-style chords, and irregular off-beat drumming into their later rock based riffs, and, several bands that included jazz-style horn sections appeared, including Blood, Sweat & Tears and Chicago. Of these, Martin highlights Chicago in particular for their experimentation with suites and extended compositions, such as the "Ballet for a Girl in Buchannon" on Chicago II.[72] Jazz influences appeared in the music of British bands such as Traffic, Colosseum and If, together with Canterbury scene bands such as Soft Machine and Caravan. Canterbury scene bands emphasised the use of wind instruments, complex chord changes and long improvisations.[73] Martin writes that in 1968, "full-blown progressive rock" was not yet in existence, but three bands released albums who would later come to the forefront of the music: Jethro Tull, Caravan and Soft Machine.[74]

 
"The Court of the Crimson King" (1969)
Macan writes that King Crimson's album "displays every element of the mature progressive rock genre ... [and] exerted a powerful extramusical influence on later progressive rock bands".[75]
Problems playing this file? See media help.

The term "progressive rock", which appeared in the liner notes of Caravan's 1968 self-titled debut LP, came to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music.[76][77] The Nice, the Moody Blues, Procol Harum and Pink Floyd all contained elements of what is now called progressive rock, but none represented as complete an example of the genre as several bands that formed soon after.[78] Almost all of the genre's major bands, including Jethro Tull, King Crimson, Yes, Genesis, Van der Graaf Generator, ELP, Gentle Giant, Barclay James Harvest and Renaissance, released their debut albums during the years 1968–1970. Most of these were folk-rock albums that gave little indication of what the bands' mature sound would become, but King Crimson's In the Court of the Crimson King (1969) and Yes’ self-titled debut album (1969) were early, fully-formed examples of the genre.[75][nb 7]

1970s–1980s

Peak years (1971–1976)

See also: Krautrock
 
Pink Floyd performing The Dark Side of the Moon (1973), the best-selling album of the entire progressive rock period.[79]

Most of the genre's major bands released their most critically acclaimed albums during the years 1971–1976.[80] The genre experienced a high degree of commercial success during the early 1970s. Jethro Tull, ELP, Rush, Yes and Pink Floyd combined for four albums that reached number one in the US charts, and sixteen of their albums reached the top ten.[81][nb 8] Mike Oldfield's Tubular Bells (1973), an excerpt of which was used as the theme for the film The Exorcist, sold 16 million copies.[86]

 
Emerson, Lake & Palmer were one of the most commercially successful progressive rock bands of the 1970s. They are seen here performing in 1992.

Progressive rock came to be appreciated overseas, but it mostly remained a European, and especially British, phenomenon. Few American bands engaged in it, and the purest representatives of the genre, such as Starcastle and Happy the Man, remained limited to their own geographic regions.[87] This is at least in part due to music industry differences between the US and Great Britain.[58][nb 9] Cultural factors were also involved, as US musicians tended to come from a blues background, while Europeans tended to have a foundation in classical music.[90] North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of Todd Rundgren's Utopia[91] and Rush, the hard rock of Captain Beyond, the Southern rock-tinged prog of Kansas, the jazz fusion of Frank Zappa and Return to Forever, and the eclectic fusion of the all-instrumental Dixie Dregs.[92][93][94][95][96][text–source integrity?] British progressive rock acts had their greatest US success in the same geographic areas in which British heavy metal bands experienced their greatest popularity. The overlap in audiences led to the success of arena rock bands, such as Boston, Kansas, and Styx, who combined elements of the two styles.[92]

Progressive rock achieved popularity in Continental Europe more quickly than it did in the US. Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early 1970s.[97][nb 10] Progressive rock emerged in Yugoslavia in the late 1960s, dominating the Yugoslav rock scene until the late 1970s.[99][100] Few of the European groups were successful outside of their own countries, with the exceptions of Dutch bands like Focus and Golden Earring who wrote English-language lyrics, and the Italians Le Orme and PFM, whose English lyrics were written by Peter Hammill and Peter Sinfield, respectively.[101] Some European bands played in a style derivative of English bands.[102][verification needed][nb 11] The "Kosmische music" scene in Germany came to be labelled as "krautrock" internationally[104] and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon.[105] Krautrock bands such as Can, which included two members who had studied under Karlheinz Stockhausen,[106] tended to be more strongly influenced by 20th-century classical music than the British progressive rock bands, whose musical vocabulary leaned more towards the Romantic era. Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock.[107]

Progressive soul
Main article: Progressive soul

Concurrently, African-American popular musicians drew from progressive rock's conceptual album-oriented approach. This led to a progressive-soul movement in the 1970s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop.[108] Among these musicians were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton.[109] In discussing the development, Martin cites 1970s albums by Wonder (Talking Book, Innervisions, Songs in the Key of Life), War (All Day Music, The World Is a Ghetto, War Live), and the Isley Brothers (3 + 3), while noting that the Who's progressive rock-influenced Who Are You (1978) also drew from the soul variant.[110] Dominic Maxwell of The Times calls Wonder's mid-1970s albums "prog soul of the highest order, pushing the form yet always heartfelt, ambitious and listenable".[111]

Decline and fragmentation

See also: Punk rock and Symphonic pop

Political and social trends of the late 1970s shifted away from the early 1970s hippie attitudes that had led to the genre's development and popularity. The rise in punk cynicism made the utopian ideals expressed in progressive rock lyrics unfashionable.[112] Virtuosity was rejected, as the expense of purchasing quality instruments and the time investment of learning to play them were seen as barriers to rock's energy and immediacy.[113] There were also changes in the music industry, as record companies disappeared and merged into large media conglomerates. Promoting and developing experimental music was not part of the marketing strategy for these large corporations, who focused their attention on identifying and targeting profitable market niches.[114]

 
King Crimson's Robert Fripp believed that the prog movement had gone "tragically off course".[115]

Four of progressive rock's most successful bands – King Crimson, Yes, ELP and Genesis – went on hiatus or experienced major personnel changes during the mid-1970s.[115] Macan notes the September 1974 breakup of King Crimson as particularly significant, calling it the point when "all English bands in the genre should have ceased to exist".[116] More of the major bands, including Van der Graaf Generator, Gentle Giant and U.K., dissolved between 1978 and 1980.[117] Many bands had by the mid-1970s reached the limit of how far they could experiment in a rock context, and fans had wearied of the extended, epic compositions. The sounds of the Hammond, Minimoog and Mellotron had been thoroughly explored, and their use became clichéd. Those bands who continued to record often simplified their sound, and the genre fragmented from the late 1970s onwards.[118] In Robert Fripp's opinion, once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".[119]

The era of record labels investing in their artists, giving them freedom to experiment and limited control over their content and marketing ended with the late 1970s.[120] Corporate artists and repertoire staff exerted an increasing amount of control over the creative process that had previously belonged to the artists,[121] and established acts were pressured to create music with simpler harmony and song structures and fewer changes in meter. A number of symphonic pop bands, such as Supertramp, 10cc, the Alan Parsons Project and the Electric Light Orchestra, brought the orchestral-style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration. Jethro Tull, Gentle Giant and Pink Floyd opted for a harder sound in the style of arena rock.[5]

Few new progressive rock bands formed during this era, and those who did found that record labels were not interested in signing them.[122] The short-lived supergroup U.K. was a notable exception since its members had established reputations; they produced two albums that were stylistically similar to previous artists and did little to advance the genre.[123] Part of the genre's legacy in this period was its influence on other styles, as several European guitarists brought a progressive rock approach to heavy metal and laid the groundwork for progressive metal. Michael Schenker, of UFO; and Uli Jon Roth, who replaced Schenker in Scorpions, expanded the modal vocabulary available to guitarists.[124][further explanation needed] Roth studied classical music with the intent of using the guitar in the way that classical composers used the violin.[125] Finally, the Dutch-born and classically trained Alex and Eddie Van Halen formed Van Halen, featuring ground-breaking whammy-bar, tapping and cross-picking guitar performances[126] that influenced "shred" music in the 1980s.[127]

Commercialisation

By the early 1980s, progressive rock was thought to be all but dead as a style, an idea reinforced by the fact that some of the principal progressive groups had developed a more commercial sound. ... What went out of the music of these now ex-progressive groups ... was any significant evocation of art music.

– John Covach[11]

Some established artists moved towards music that was simpler and more commercially viable.[128][verification needed][11] Arena rock bands like Journey, Kansas, Styx, GTR, ELO and Foreigner either had begun as progressive rock bands or included members with strong ties to the genre. These groups retained some of the song complexity and orchestral-style arrangements, but they moved away from lyrical mysticism in favour of more conventional themes such as relationships.[129] These radio-friendly groups have been called "prog lite".[130] Genesis transformed into a successful pop act, the prog supergroup Asia (consisting of members of Yes, King Crimson, and ELP) scored a number-one album in 1982,[131] and a re-formed Yes released the relatively mainstream 90125 (1983), which yielded their only US number-one single, "Owner of a Lonely Heart". One band who remained successful into the 1980s while maintaining a progressive approach was Pink Floyd, who released The Wall late in 1979. The album, which brought punk anger into progressive rock,[132] was a huge success and was later filmed as Pink Floyd – The Wall.[citation needed][nb 12]

Post-punk and post-progressive

Main articles: Post-punk and Post-progressive
See also: New wave music

Punk and progressive rock were not necessarily as opposed as is commonly believed. Both genres reject commercialism, and punk bands did see a need for musical advancement.[140][nb 13] Author Doyle Green noted that post-punk emerged as "a kind of 'progressive punk'".[145] Post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as "progressive", "art", or "studio perfectionism".[146] In contrast to punk rock, it balances punk's energy and skepticism with art school consciousness, Dadaist experimentalism, and atmospheric, ambient soundscapes. World music, especially African and Asian traditions, was also a major influence.[147] Progressive rock's impact was felt in the work of some post-punk artists, although they tended not to emulate classical rock or Canterbury groups but rather Roxy Music, King Crimson, and krautrock bands, particularly Can.[148][verification needed][nb 14] Punishment of Luxury's music borrowed from both progressive and punk rock,[150] whilst Alternative TV, who were fronted by the founder of the influential punk fanzine Sniffin' Glue Mark Perry, toured and released a split live album with Gong offshoot Here & Now.[151]

 
Talking Heads' Jerry Harrison (left) and David Byrne, late 1970s

The term "post-progressive" identifies progressive rock that returns to its original principles while dissociating from 1970s progressive rock styles,[152] and may be located after 1978.[153] Martin credits Roxy Music's Brian Eno as the sub-genre's most important catalyst, explaining that his 1973–77 output merged aspects of progressive rock with a prescient notion of new wave and punk.[154] New wave, which surfaced around 1978–79 with some of the same attitudes and aesthetic as punk, was characterised by Martin as "progressive" multiplied by "punk".[155] Bands in the genre tended to be less hostile towards progressive rock than the punks, and there were crossovers, such as Fripp and Eno's involvement with Talking Heads, and Yes' replacement of Rick Wakeman and Jon Anderson with the pop duo the Buggles.[155] When King Crimson reformed in 1981, they released an album, Discipline, which Macan says "inaugurated" the new post-progressive style.[156] The new King Crimson line-up featured guitarist and vocalist Adrian Belew, who also collaborated with Talking Heads, playing live with the band and featuring on their 1980 album Remain in Light.[157][158] According to Martin, Talking Heads also created "a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."[154]

Neo-progressive rock

Main article: Neo-progressive rock

A second wave[159] of progressive rock bands appeared in the early 1980s and have since been categorised as a separate "neo-progressive rock" subgenre.[160] These largely keyboard-based bands played extended compositions with complex musical and lyrical structures.[161] Several of these bands were signed by major record labels, including Marillion, IQ, Pendragon and Pallas.[162] Most of the genre's major acts released debut albums between 1983 and 1985 and shared the same manager, Keith Goodwin, a publicist who had been instrumental in promoting progressive rock during the 1970s.[163] The previous decade's bands had the advantage of appearing during a prominent countercultural movement that provided them with a large potential audience, but the neo-progressive bands were limited to a relatively niche demographic and found it difficult to attract a following. Only Marillion[164] and Saga[165] experienced international success.

Neo-progressive bands tended to use Peter Gabriel-era Genesis as their "principal model".[166] They were also influenced by funk, hard rock and punk rock.[167] The genre's most successful band, Marillion, suffered particularly from accusations of similarity to Genesis, although they used a different vocal style, incorporated more hard rock elements,[168] and were very influenced by bands including Camel and Pink Floyd.[169][170] Authors Paul Hegarty and Martin Halliwell have pointed out that the neo-progressive bands were not so much plagiarising progressive rock as they were creating a new style from progressive rock elements, just as the bands of a decade before had created a new style from jazz and classical elements.[171] Author Edward Macan counters by pointing out that these bands were at least partially motivated by a nostalgic desire to preserve a past style rather than a drive to innovate.[172]

1990s–2000s

Third wave

 
Porcupine Tree performing in 2007

A third wave of progressive rock bands, who can also be described as a second generation of neo-progressive bands,[159] emerged in the 1990s. The use of the term "progressive" to describe groups that follow in the style of bands from ten to twenty years earlier is somewhat controversial, as it has been seen as a contradiction of the spirit of experimentation and progress.[173][174] These new bands were aided in part by the availability of personal computer-based recording studios, which reduced album production expenses, and the Internet, which made it easier for bands outside of the mainstream to reach widespread audiences.[175] Record stores specialising in progressive rock appeared in large cities.[173]

The shred music of the 1980s was a major influence on the progressive rock groups of the 1990s.[173] Some of the newer bands, such as the Flower Kings, Spock's Beard and Glass Hammer, played a 1970s-style symphonic prog, but with an updated sound.[176] A number of them began to explore the limits of the CD in the way that earlier groups had stretched the limits of the vinyl LP.[177]

Progressive metal

Main article: Progressive metal
 
"A Change of Seasons" by Dream Theater
A multipart suite by Dream Theater that combines elements of progressive rock and heavy metal
Problems playing this file? See media help.

Progressive rock and heavy metal have similar timelines. Both emerged from late-1960s psychedelia to achieve great early-1970s success despite a lack of radio airplay and support from critics, then faded in the mid-to-late 1970s and experienced revivals in the early 1980s. Each genre experienced a fragmentation of styles at this time, and many metal bands from the new wave of British heavy metal – most notably Iron Maiden – onwards displayed progressive rock influences.[178] Progressive metal reached a point of maturity with Queensrÿche's 1988 concept album Operation: Mindcrime, Voivod's 1989 Nothingface, which featured abstract lyrics and a King Crimson-like texture, and Dream Theater's 1992 Images and Words.[179]

Progressive rock elements appear in other metal subgenres. Black metal is conceptual by definition, due to its prominent theme of questioning the values of Christianity.[180] Its guttural vocals are sometimes used by bands who can be classified as progressive, such as Mastodon, Mudvayne and Opeth.[181] Symphonic metal is an extension of the tendency towards orchestral passages in early progressive rock.[182] Progressive rock has also served as a key inspiration for genres such as post-rock,[183] post-metal and avant-garde metal,[184] math rock,[185] power metal and neo-classical metal.[186]

New prog

Not to be confused with Neo-progressive rock.

New prog describes the wave of progressive rock bands in the 2000s who revived the genre. According to Entertainment Weekly's Evan Serpick: "Along with recent success stories like System of a Down and up-and-comers like the Dillinger Escape Plan, Lightning Bolt, Coheed and Cambria, and the Mars Volta create incredibly complex and inventive music that sounds like a heavier, more aggressive version of '70s behemoths such as Led Zeppelin and King Crimson."[187]

2010s

The Progressive Music Awards were launched in 2012 by the British magazine Prog to honour the genre's established acts and to promote its newer bands. Honorees, however, are not invited to perform at the awards ceremony, as the promoters want an event "that doesn't last three weeks".[188][full citation needed]

2020s

Progressive rock as a genre continues into the 2020s with existing bands like Yes, Marillion and Porcupine Tree, along with more recently notable bands like Riverside creating new music centered around the style.

Festivals

Many prominent progressive rock bands got their initial exposure at large rock festivals that were held in Britain during the late 1960s and early 1970s. King Crimson made their first major appearance at the 1969 Hyde Park free concert, before a crowd estimated to be as large as 650,000, in support of the Rolling Stones.[189] Emerson, Lake & Palmer debuted at the 1970 Isle of Wight Festival, at which Supertramp, Family and Jethro Tull also appeared.[190] Jethro Tull were also present at the 1969 Newport Jazz Festival, the first year in which that festival invited rock bands to perform. Hawkwind appeared at many British festivals throughout the 1970s, although they sometimes showed up uninvited, set up a stage on the periphery of the event, and played for free.[191]

 
Supertramp performing in 1979
 
King Crimson performing at the Dour Festival, 2003

Renewed interest in the genre in the 1990s led to the development of progressive rock festivals.[173] ProgFest, organised by Greg Walker and David Overstreet in 1993, was first held in UCLA's Royce Hall,[192] and featured Sweden's Änglagård, the UK's IQ, Quill and Citadel. CalProg was held annually in Whittier, California during the early 2000s.[193] The North East Art Rock Festival, or NEARfest,[175] held its first event in 1999 in Bethlehem, Pennsylvania and held annual sold-out concerts until 2012's NEARfest Apocalypse, which featured headliners U.K. and Renaissance.[194] Other festivals include the annual ProgDay (the longest-running and only outdoor progressive music festival) in Chapel Hill, North Carolina, the annual Rites of Spring Festival (RoSfest) in Sarasota, Florida, The Rogue Independent Music Festival in Atlanta, Georgia, Baja Prog in Mexicali, Mexico, ProgPower USA in Atlanta, Georgia, ProgPower Europe in Baarlo, Netherlands, and ProgStock in Rahway, NJ, which held its first event in 2017.[195] Progressive Nation tours were held in 2008 and 2009 with Dream Theater as the headline act. "Night of the Prog" in Sankt Goarshausen, Germany, is an established European progressive rock festival held every July during 2–3 days for 12 years.

Reception

The genre has received both critical acclaim and criticism throughout the years. Progressive rock has been described as parallel to the classical music of Igor Stravinsky and Béla Bartók.[192] This desire to expand the boundaries of rock, combined with some musicians' dismissiveness toward mainstream rock and pop, dismayed critics and led to accusations of elitism. Its intellectual, fantastic and apolitical lyrics, and shunning of rock's blues roots, were abandonments of the very things that many critics valued in rock music.[196] Progressive rock also represented the maturation of rock as a genre, but there was an opinion among critics that rock was and should remain fundamentally tied to adolescence, so rock and maturity were mutually exclusive.[197] Criticisms over the complexity of their music provoked some bands to create music that was even more complex.[citation needed][nb 15]

Most of the musicians involved were male, as was the case for most rock of the time,[201] Female singers were better represented in progressive folk bands,[202] who displayed a broader range of vocal styles than the progressive rock bands[203] with whom they frequently toured and shared band members.[204]

British and European audiences typically followed concert hall behaviour protocols associated with classical music performances, and were more reserved in their behaviour than audiences for other forms of rock. This confused musicians during US tours, as they found American audiences less attentive and more prone to outbursts during quiet passages.[205]

These aspirations towards high culture reflect progressive rock's origins as a music created largely by upper- and middle-class, white-collar, college-educated males from Southern England. The music never reflected the concerns of or was embraced by working-class listeners,[206] except in the US, where listeners appreciated the musicians' virtuosity.[207] Progressive rock's exotic, literary topics were considered particularly irrelevant to British youth during the late 1970s, when the nation suffered from a poor economy and frequent strikes and shortages.[208] Even King Crimson leader Robert Fripp dismissed progressive rock lyrics as "the philosophical meanderings of some English half-wit who is circumnavigating some inessential point of experience in his life".[209] Bands whose darker lyrics avoided utopianism, such as King Crimson, Pink Floyd and Van der Graaf Generator, experienced less critical disfavour.[210]

"I wasn't a big fan of most of what you'd call progressive rock", remarked Floyd guitarist David Gilmour. "I'm like Groucho Marx: I don't want to belong to any club that would have me for a member."[211] Ian Anderson, the frontman of Jethro Tull, commented:

I still like the original term that comes from 1969: progressive rock – but that was with a small "p" and a small "r". Prog Rock, on the other hand, has different connotations – of grandeur and pomposity ... Some of it was a little bit overblown, but in the case of much of the music, it was absolutely spot on.[212]

While music fans for years have declared progressive rock to be dead[213], the scene is still active with many sub-genres[214].

List of progressive rock artists

Main article: List of progressive rock artists

See also

 
Look up progressive rock in Wiktionary, the free dictionary.

Notes

  1. ^ In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".[13]
  2. ^ From about 1967, "pop music" was increasingly used in opposition to the term "rock music", a division that gave generic significance to both terms.[20]
  3. ^ Formalism refers to a preoccupation with established external compositional systems, structural unity, and the autonomy of individual art works. Eclecticism, like formalism, connotes a predilection towards style synthesis, or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms and cultural codes. Examples include the Beatles' "Within You Without You" (1967) and Jimi Hendrix's 1969 version of "The Star-Spangled Banner".[27]
  4. ^ Allan Moore writes: "It should be clear by now that, although this history appears to offer a roughly chronological succession of styles, there is no single, linear history to that thing we call popular song. ... Sometimes it appears that there are only peripheries. Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid 1960s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles. But by 1970 this monolothic position had again broken down. Both the Edgar Broughton Band's 'Apache Dropout' and Edison Lighthouse's 'Love grows' were released in 1970 with strong Midlands/London connections, and both were audible on the same radio stations, but were operating according to very different aesthetics."[36]
  5. ^ LP sales first overtook those of singles in 1969.[59]
  6. ^ Beatles member John Lennon is known to have attended at least one such event, a happening called the 14 Hour Technicolor Dream.[65] Paul McCartney was deeply connected to the underground through his involvement with the Indica Gallery.[66]
  7. ^ They are also generally credited as the first global standard-bearers of symphonic rock.[70]
  8. ^ Tull alone scored 11 gold albums and 5 platinum albums.[82] Pink Floyd's 1970 album Atom Heart Mother reached the top spot on the UK charts. Their 1973 album The Dark Side of the Moon, which united their extended compositions with the more structured kind of composing employed when Syd Barrett was their songwriter,[83] spent more than two years at the top of the charts[84] and remained on the Billboard 200 album chart for fifteen years.[85]
  9. ^ Radio airplay was less important in the UK, where popular music recordings had limited air-time on official radio stations (as opposed to on pirate radio) until the 1967 launch of BBC Radio 1.[58] UK audiences were accustomed to hearing bands in clubs, and British bands could support themselves through touring. US audiences were first exposed to new music on the radio, and bands in the US required radio airplay for success.[88] Radio stations were averse to progressive rock's longer-form compositions, which hampered advertising sales.[89]
  10. ^ Van der Graaf Generator were much more popular there than in their own country. Genesis were hugely successful in Continental Europe at a time when they were still limited to a cult following in Britain and the US.[98][importance of example(s)?]
  11. ^ This can be heard in Triumvirat, an organ trio in the style of ELP; Ange and Celeste who have had a strong King Crimson influence.[102] Others brought national elements to their style: Spain's Triana introduced flamenco elements, groups such as the Swedish Samla Mammas Manna drew from the folk music styles of their respective nations, and Italian bands such as Il Balletto di Bronzo, Rustichelli & Bordini, leaned towards an approach that was more overtly emotional than that of their British counterparts.[103]
  12. ^ Pink Floyd were unable to repeat that combination of commercial and critical success, as their sole follow-up, The Final Cut, was several years in coming[133] and was essentially a Roger Waters solo project[134] that consisted largely of material that had been rejected for The Wall.[135] The band later reunited without Waters and restored many of the progressive elements that had been downplayed in the band's late-1970s work.[136] This version of the band was very popular,[137] but critical opinion of their later albums is less favourable.[138][139]
  13. ^ Sex Pistols frontman Johnny Rotten famously wore a T-shirt that read "I hate Pink Floyd",[122] but he expressed admiration for Van der Graaf Generator,[141] Can,[142] and many years later, Pink Floyd themselves.[143] Brian Eno expressed a preference for the approach of the punk and new wave bands in New York, as he found them to be more experimental and less personality-based than the English bands.[144]
  14. ^ Julian Cope of the Teardrop Explodes wrote a history of the krautrock genre, Krautrocksampler.[149][importance of example(s)?]
  15. ^ Yes' Tales from Topographic Oceans[198] and "The Gates of Delirium"[199] were both responses to such criticisms. Jethro Tull's Thick As a Brick, a self-satirising concept album that consisted of a single 45-minute track, arose from the band's disagreement with the labelling of their previous Aqualung as a concept album.[200]

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  • Bruford, Bill (2012), Theo Cateforis (ed.), "Reflections on Progressive Rock", The Rock History Reader, Routledge
  • Cateforis, Theo (2011), Are We Not New Wave? Modern Pop at the Turn of the 1980s, University of Michigan Press, ISBN 978-0-472-11555-6
  • Cotner, John Sidney (2001), Archetypes of progressiveness in rock, ca. 1966–1973, University of Wisconsin-Madison
  • Cotner, John S. (2000). "Music Theory and Progressive Rock Style Analysis". Reflections on American Music: The Twentieth Century and the New Millennium. Pendragon Press. ISBN 978-1-57647-070-1.
  • Covach, John (1997), John Covach; Graeme M. Boone (eds.), "Progressive Rock, 'Close to the Edge,' and the Boundaries of Style", Understanding Rock: Essays in Musical Analysis, New York: Oxford University Press
  • Curtis, Jim (1987), Rock Eras: Interpretations of Music and Society, 1954–1984, Bowling Green, OH: Bowling Green State University Popular Press
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  • Haworth, John Trevor; Smith, Michael A. (1975). Work and Leisure: An Interdisciplinary Study in Theory, Education and Planning. Lepus Books. ISBN 9780860190097. from the original on 23 February 2017. Retrieved 12 October 2016.
  • Hegarty, Paul; Halliwell, Martin (2011), Beyond and Before: Progressive Rock Since the 1960s, New York: The Continuum International Publishing Group, ISBN 978-0-8264-2332-0
  • Hoard, Christian; Brackett, Nathan, eds. (2004). The New Rolling Stone Album Guide. Simon & Schuster. ISBN 9780743201698.
  • Holm-Hudson, Kevin (2008). Genesis and The Lamb Lies Down on Broadway. Ashgate. ISBN 978-0-7546-6139-9.
  • Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. ISBN 978-1-135-71022-4. from the original on 8 February 2017. Retrieved 12 October 2016.
  • Lucky, Jerry (2000), Progressive Rock, Burlington, Ontario: Collector's Guide Publishing, Inc.
  • Macan, Edward (1997), Rocking the Classics: English Progressive Rock and the Counterculture, Oxford: Oxford University Press, ISBN 0-19-509887-0
  • Martin, Bill (1996), Music of Yes: Structure and Vision in Progressive Rock, Chicago: Open Court
  • Martin, Bill (1998), Listening to the Future: The Time of Progressive Rock, Chicago: Open Court, ISBN 0-8126-9368-X
  • Martin, Bill (2002), Avant Rock: Experimental Music from the Beatles to Bjork, Chicago: Open Court
  • Maske, Dan (2007), Progressive Rock Keyboard, Milwaukee, WI: Hal Leonard Corporation
  • Moore, Allan (2004). Jethro Tull's Aqualung. Bloomsbury Publishing. ISBN 978-1-4411-1315-3. from the original on 5 May 2016. Retrieved 12 December 2015.
  • Moore, Allan F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. Routledge. ISBN 978-1-317-05265-4. from the original on 7 November 2021. Retrieved 12 October 2016.* Sarig, Roni (1998), The Secret History of Rock: The Most Influential Bands You\'ve Never Heard, Crown Publishing Group
  • Philo, Simon (2014). British Invasion: The Crosscurrents of Musical Influence. Rowman & Littlefield Publishers. ISBN 978-0-8108-8627-8. from the original on 7 December 2019. Retrieved 12 October 2016.
  • Prendergast, Mark (2003). The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age. New York, NY: Bloomsbury. ISBN 1-58234-323-3.
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  • Robinson, Emily (2017). The Language of Progressive Politics in Modern Britain. Palgrave Macmillan UK. ISBN 978-1-137-50664-1. from the original on 17 February 2017. Retrieved 14 February 2017.
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  • Romano, Will (2010). Mountains Come Out of the Sky: The Illustrated History of Prog Rock. Milwaukee, WI: Backbeat Books. ISBN 978-0-87930-991-6. from the original on 25 August 2016. Retrieved 12 October 2016.
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Further reading

  • Lucky, Jerry. The Progressive Rock Files. Burlington, Ontario: Collector's Guide Publishing, Inc (1998), 304 pages, ISBN 1-896522-10-6 (paperback). Gives an overview of progressive rock's history as well as histories of the major and underground bands in the genre.
  • Lucky, Jerry. The Progressive Rock Handbook. Burlington, Ontario: Collector's Guide Publishing, Inc. (2008), 352 pages, ISBN 978-1-894959-76-6 (paperback). Reviews hundreds of progressive rock bands and lists their recordings. Also provides an updated overview, similar to The Progressive Rock Files.
  • Snider, Charles. The Strawberry Bricks Guide To Progressive Rock, 3rd Edition. Chicago, Ill.: Kindle Direct Publishing (2020) 572 pages, ISBN 978-0-578-48980-3 (paperback). A veritable record guide to progressive rock, with band histories, musical synopses and critical commentary, all presented in the historical context of a timeline.
  • Stump, Paul. The Music's All That Matters: A History of Progressive Rock. London: Quartet Books Limited (1997), 384 pages, ISBN 0-7043-8036-6 (paperback). Smart telling of the history of progressive rock focusing on English bands with some discussion of American and European groups. Takes you from the beginning to the early 1990s.
  • Weingarten, Marc. Yes Is The Answer: (And Other Prog-Rock Tales). Barnacle Book/Rare Bird Books (2013), 280 pages, ISBN 978-0-9854902-0-1. Defense of the genre.
  • Yfantis, Vasileios. Is Prog Rock Really Progressive?. CreateSpace Independent Publishing Platform (2020), 119 pages, ISBN 978-1548614416. Exploring the evolution and the future of the genre.

February 06, 2023
progressive, rock, radio, format, radio, format, classical, rock, redirects, here, classic, rock, radio, format, classic, rock, other, uses, classic, rock, disambiguation, shortened, prog, rock, simply, prog, sometimes, conflated, with, rock, broad, genre, roc. For the radio format see Progressive rock radio format Classical rock redirects here For classic rock as a radio format see classic rock For other uses see Classic Rock disambiguation Progressive rock shortened as prog rock or simply prog sometimes conflated with art rock is a broad genre of rock music 8 that developed in the United Kingdom and United States through the mid to late 1960s peaking in the early 1970s Initially termed progressive pop the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more frequently associated with jazz folk or classical music Additional elements contributed to its progressive label lyrics were more poetic technology was harnessed for new sounds music approached the condition of art and the studio rather than the stage became the focus of musical activity which often involved creating music for listening rather than dancing Progressive rockOther namesArt rock classical rock prog symphonic rockStylistic originsRock psychedelia progressive music jazz folk classicalCultural originsMid to late 1960s United Kingdom and United StatesDerivative formsKrautrock 1 new age music 2 occult rock 3 post rock 4 symphonic pop 5 new waveSubgenresCanterbury scene 6 neo progressive rock 7 Rock in Opposition 6 Fusion genresAvant prog progressive metal progressive soulOther topicsAlternative rock arena rock art music concept album experimental rock folk rock hard rock new wave post progressive post punk progressive pop proto prog recording studio as an instrument rock opera space rockProgressive rock is based on fusions of styles approaches and genres involving a continuous move between formalism and eclecticism Due to its historical reception the scope of progressive rock is sometimes limited to a stereotype of long solos long albums fantasy lyrics grandiose stage sets and costumes and an obsessive dedication to technical skill While the genre is often cited for its merging of high culture and low culture few artists incorporated literal classical themes in their work to any great degree and only a handful of groups such as Emerson Lake amp Palmer purposely emulated or referenced classical music The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists as well as the new journalistic division between pop and rock that lent generic significance to both terms It saw a high level of popularity in the early to mid 1970s but faded soon after Conventional wisdom holds that the rise of punk rock caused this but several more factors contributed to the decline 9 Music critics who often labelled the concepts as pretentious and the sounds as pompous and overblown tended to be hostile towards the genre or to completely ignore it 10 After the late 1970s progressive rock fragmented in numerous forms Some bands achieved commercial success well into the 1980s albeit with changed lineups and more compact song structures or crossed into symphonic pop arena rock or new wave Early groups who exhibited progressive features are retroactively described as proto prog The Canterbury scene originating in the late 1960s denotes a subset of progressive rock bands who emphasised the use of wind instruments complex chord changes and long improvisations Rock in Opposition from the late 1970s was more avant garde and when combined with the Canterbury style created avant prog In the 1980s a new subgenre neo progressive rock enjoyed some commercial success although it was also accused of being derivative and lacking in innovation Post progressive draws upon newer developments in popular music and the avant garde since the mid 1970s Contents 1 Definition and characteristics 1 1 Scope and related terms 1 2 Relation to art and social theories 2 History 2 1 1966 1970 Origins 2 1 1 Background and roots 2 1 2 Pet Sounds and Sgt Pepper 2 1 3 Proto prog and psychedelia 2 2 1970s 1980s 2 2 1 Peak years 1971 1976 2 2 1 1 Progressive soul 2 2 2 Decline and fragmentation 2 2 2 1 Commercialisation 2 2 3 Post punk and post progressive 2 2 4 Neo progressive rock 2 3 1990s 2000s 2 3 1 Third wave 2 3 2 Progressive metal 2 3 3 New prog 2 4 2010s 2 5 2020s 3 Festivals 4 Reception 5 List of progressive rock artists 6 See also 7 Notes 8 References 9 Sources 10 Bibliography 11 Further readingDefinition and characteristics EditFurther information Progressive music Scope and related terms Edit See also Progressive pop and Art rock The term progressive rock is synonymous with art rock classical rock not to be confused with classic rock and symphonic rock 11 Historically art rock has been used to describe at least two related but distinct types of rock music 12 The first is progressive rock as it is generally understood while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist avant garde approach 12 nb 1 Similarities between the two terms are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility However art rock is more likely to have experimental or avant garde influences 14 Prog was devised in the 1990s 15 as a shorthand term but later became a transferable adjective also suggesting a wider palette than that drawn on by the most popular 1970s bands 16 Progressive rock is varied and is based on fusions of styles approaches and genres tapping into broader cultural resonances that connect to avant garde art classical music and folk music performance and the moving image 17 Although a unidirectional English progressive style emerged in the late 1960s by 1967 progressive rock had come to constitute a diversity of loosely associated style codes 18 When the progressive label arrived the music was dubbed progressive pop before it was called progressive rock 19 nb 2 with the term progressive referring to the wide range of attempts to break with standard pop music formula 21 A number of additional factors contributed to the acquired progressive label lyrics were more poetic technology was harnessed for new sounds music approached the condition of art some harmonic language was imported from jazz and 19th century classical music the album format overtook singles and the studio rather than the stage became the focus of musical activity which often involved creating music for listening not dancing 22 One of the best ways to define progressive rock is that it is a heterogeneous and troublesome genre a formulation that becomes clear the moment we leave behind characterizations based only on the most visible bands of the early to mid 1970s Paul Hegarty and Martin Halliwell 17 Critics of the genre often limit its scope to a stereotype of long solos overlong albums fantasy lyrics grandiose stage sets and costumes and an obsessive dedication to technical skill 23 While progressive rock is often cited for its merging of high culture and low culture few artists incorporated literal classical themes in their work to any great degree 24 and only a handful of groups purposely emulated or referenced classical music 17 Writer Emily Robinson says that the narrowed definition of progressive rock was a measure against the term s loose application in the late 1960s when it was applied to everyone from Bob Dylan to the Rolling Stones Debate over the genre s criterion continued to the 2010s particularly on Internet forums dedicated to prog 15 According to musicologists Paul Hegarty and Martin Halliwell Bill Martin and Edward Macan authored major books about progressive rock while effectively accept ing the characterization of progressive rock offered by its critics they each do so largely unconsciously 23 Academic John S Cotner contests Macan s view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock 18 Author Kevin Holm Hudson agrees that progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics 25 Relation to art and social theories Edit See also Formalism music and Eclecticism in music In early references to the music progressive was partly related to progressive politics but those connotations were lost during the 1970s 15 On progressive music Holm Hudson writes that it moves continuously between explicit and implicit references to genres and strategies derived not only from European art music but other cultural domains such as East Indian Celtic folk and African and hence involves a continuous aesthetic movement between formalism and eclecticism 26 nb 3 Cotner also says that progressive rock incorporates both formal and eclectic elements It consists of a combination of factors some of them intramusical within others extramusical or social without 28 One way of conceptualising rock and roll in relation to progressive music is that progressive music pushed the genre into greater complexity while retracing the roots of romantic and classical music 29 Sociologist Paul Willis believes We must never be in doubt that progressive music followed rock n roll and that it could not have been any other way We can see rock n roll as a deconstruction and progressive music as a reconstruction 30 Author Will Romano states that rock itself can be interpreted as a progressive idea Ironically and quite paradoxically progressive rock the classic era of the late 1960s through the mid and late 1970s introduces not only the explosive and exploratory sounds of technology but traditional music forms classical and European folk and often a pastiche compositional style and artificial constructs concept albums which suggests postmodernism 31 History EditFor a chronological guide see Timeline of progressive rock 1966 1970 Origins Edit Further information on the origins of progressive rock from the perspective of its early synonyms Progressive pop Origins and Art rock Origins Background and roots Edit See also Progressive jazz The Beatles working in the studio with their producer George Martin circa 1965 In 1966 the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock 32 Progressive rock was predicated on the progressive pop groups from the 1960s who combined rock and roll with various other music styles such as Indian ragas oriental melodies and Gregorian chants like the Beatles and the Yardbirds 33 The Beatles Paul McCartney said in 1967 we the band got a bit bored with 12 bars all the time so we tried to get into something else Then came Dylan the Who and the Beach Boys We re all trying to do vaguely the same kind of thing 34 Rock music started to take itself seriously paralleling earlier attempts in jazz as swing gave way to bop a move which did not succeed with audiences In this period the popular song began signalling a new possible means of expression that went beyond the three minute love song leading to an intersection between the underground and the establishment for listening publics 35 nb 4 Hegarty and Halliwell identify the Beatles the Beach Boys the Doors the Pretty Things the Zombies the Byrds the Grateful Dead and Pink Floyd not merely as precursors of progressive rock but as essential developments of progressiveness in its early days 37 According to musicologist Walter Everett the Beatles experimental timbres rhythms tonal structures and poetic texts on their albums Rubber Soul 1965 and Revolver 1966 encouraged a legion of young bands that were to create progressive rock in the early 1970s 38 Dylan s poetry the Mothers of Invention s album Freak Out 1966 and the Beatles Sgt Pepper s Lonely Hearts Club Band 1967 were all important in progressive rock s development 14 The productions of Phil Spector were key influences 39 as they introduced the possibility of using the recording studio to create music that otherwise could never be achieved 40 The same vague is said for the Beach Boys Pet Sounds 1966 which Brian Wilson intended as an answer to Rubber Soul 41 and which in turn influenced the Beatles when they made Sgt Pepper 42 43 Dylan introduced a literary element to rock through his fascination with the Surrealists and the French Symbolists and his immersion in the New York City art scene of the early 1960s 44 The trend of bands with names drawn from literature such as the Doors Steppenwolf and the Ides of March were a further sign of rock music aligning itself with high culture 45 Dylan also led the way in blending rock with folk music styles This was followed by folk rock groups such as the Byrds who based their initial sound on that of the Beatles 46 In turn the Byrds vocal harmonies inspired those of Yes 47 and British folk rock bands like Fairport Convention who emphasised instrumental virtuosity 48 Some of these artists such as the Incredible String Band and Shirley and Dolly Collins would prove influential through their use of instruments borrowed from world music and early music 49 Pet Sounds and Sgt Pepper Edit Main articles Pet Sounds and Sgt Pepper s Lonely Hearts Club Band Many groups and musicians played important roles in this development process but none more than the Beach Boys and the Beatles They brought expansions in harmony instrumentation and therefore timbre duration rhythm and the use of recording technology Of these elements the first and last were the most important in clearing a pathway toward the development of progressive rock Bill Martin 50 Pet Sounds and Sgt Pepper with their lyrical unity extended structure complexity eclecticism experimentalism and influences derived from classical music forms are largely viewed as beginnings in the progressive rock genre 51 52 and as turning points wherein rock which previously had been considered dance music became music that was made for listening to 53 50 Between Pet Sounds and Sgt Pepper the Beach Boys released the single Good Vibrations 1966 dubbed a pocket symphony by Derek Taylor the band s publicist The song contained an eclectic array of exotic instruments and several disjunctive key and modal shifts 54 Scott Interrante of Popmatters wrote that its influence on progressive rock and the psychedelic movement can t be overstated 55 Martin likened the song to the Beatles A Day in the Life from Sgt Pepper in that they showcase the same reasons why much progressive rock is difficult to dance to 56 Although Sgt Pepper was preceded by several albums that had begun to bridge the line between disposable pop and serious rock it successfully gave an established commercial voice to an alternative youth culture 57 and marked the point at which the LP record emerged as a creative format whose importance was equal to or greater than that of the single 58 nb 5 Bill Bruford a veteran of several progressive rock bands said that Sgt Pepper transformed both musicians ideas of what was possible and audiences ideas of what was acceptable in music 60 He believed that Without the Beatles or someone else who had done what the Beatles did it is fair to assume that there would have been no progressive rock 61 In the aftermath of Sgt Pepper magazines such as Melody Maker drew a sharp line between pop and rock thus eliminating the roll from rock and roll which now refers to the 1950s style The only artists who remained rock would be those who were considered at the vanguard of compositional forms far from radio friendly standards as Americans increasingly used the adjective progressive for groups like Jethro Tull Family East of Eden Van der Graaf Generator and King Crimson 62 Proto prog and psychedelia Edit Main articles Proto prog Psychedelic rock and Acid rock See also Rock opera and Canterbury scene This section possibly contains inappropriate or misinterpreted citations that do not verify the text Please help improve this article by checking for citation inaccuracies March 2016 Learn how and when to remove this template message According to AllMusic Prog rock began to emerge out of the British psychedelic scene in 1967 specifically a strain of classical symphonic rock led by the Nice Procol Harum and the Moody Blues Days of Future Passed 63 The availability of newly affordable recording equipment coincided with the rise of a London underground scene at which the psychedelic drug LSD was commonly used Pink Floyd and Soft Machine functioned as house bands at all night events at locations such as Middle Earth and the UFO Club where they experimented with sound textures and long form songs 64 nb 6 Many psychedelic folk rock and early progressive bands were aided by exposure from BBC Radio 1 DJ John Peel 67 Jimi Hendrix who rose to prominence in the London scene and recorded with a band of English musicians initiated the trend towards guitar virtuosity and eccentricity in rock music 68 The Scottish band 1 2 3 later renamed Clouds were formed in 1966 and began performing at London clubs a year later According to Mojo s George Knemeyer some claim that they had a vital influence on prog rockers such as Yes The Nice and Family 69 Symphonic rock artists in the late 1960s had some chart success including the singles Nights in White Satin the Moody Blues 1967 and A Whiter Shade of Pale Procol Harum 1967 70 The Moody Blues established the popularity of symphonic rock when they recorded Days of Future Passed together with the London Festival Orchestra and Procol Harum began to use a greater variety of acoustic instruments importance of example s particularly on their 1969 album A Salty Dog 71 Classical influences sometimes took the form of pieces adapted from or inspired by classical works such as Jeff Beck s Beck s Bolero and parts of the Nice s Ars Longa Vita Brevis The latter along with such Nice tracks as Rondo and America reflect a greater interest in music that is entirely instrumental Sgt Pepper s and Days both represent a growing tendency towards song cycles and suites made up of multiple movements 71 Focus incorporated and articulated jazz style chords and irregular off beat drumming into their later rock based riffs and several bands that included jazz style horn sections appeared including Blood Sweat amp Tears and Chicago Of these Martin highlights Chicago in particular for their experimentation with suites and extended compositions such as the Ballet for a Girl in Buchannon on Chicago II 72 Jazz influences appeared in the music of British bands such as Traffic Colosseum and If together with Canterbury scene bands such as Soft Machine and Caravan Canterbury scene bands emphasised the use of wind instruments complex chord changes and long improvisations 73 Martin writes that in 1968 full blown progressive rock was not yet in existence but three bands released albums who would later come to the forefront of the music Jethro Tull Caravan and Soft Machine 74 The Court of the Crimson King 1969 source source Macan writes that King Crimson s album displays every element of the mature progressive rock genre and exerted a powerful extramusical influence on later progressive rock bands 75 Problems playing this file See media help The term progressive rock which appeared in the liner notes of Caravan s 1968 self titled debut LP came to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music 76 77 The Nice the Moody Blues Procol Harum and Pink Floyd all contained elements of what is now called progressive rock but none represented as complete an example of the genre as several bands that formed soon after 78 Almost all of the genre s major bands including Jethro Tull King Crimson Yes Genesis Van der Graaf Generator ELP Gentle Giant Barclay James Harvest and Renaissance released their debut albums during the years 1968 1970 Most of these were folk rock albums that gave little indication of what the bands mature sound would become but King Crimson s In the Court of the Crimson King 1969 and Yes self titled debut album 1969 were early fully formed examples of the genre 75 nb 7 1970s 1980s Edit Peak years 1971 1976 Edit See also Krautrock Pink Floyd performing The Dark Side of the Moon 1973 the best selling album of the entire progressive rock period 79 Most of the genre s major bands released their most critically acclaimed albums during the years 1971 1976 80 The genre experienced a high degree of commercial success during the early 1970s Jethro Tull ELP Rush Yes and Pink Floyd combined for four albums that reached number one in the US charts and sixteen of their albums reached the top ten 81 nb 8 Mike Oldfield s Tubular Bells 1973 an excerpt of which was used as the theme for the film The Exorcist sold 16 million copies 86 Emerson Lake amp Palmer were one of the most commercially successful progressive rock bands of the 1970s They are seen here performing in 1992 Progressive rock came to be appreciated overseas but it mostly remained a European and especially British phenomenon Few American bands engaged in it and the purest representatives of the genre such as Starcastle and Happy the Man remained limited to their own geographic regions 87 This is at least in part due to music industry differences between the US and Great Britain 58 nb 9 Cultural factors were also involved as US musicians tended to come from a blues background while Europeans tended to have a foundation in classical music 90 North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of Todd Rundgren s Utopia 91 and Rush the hard rock of Captain Beyond the Southern rock tinged prog of Kansas the jazz fusion of Frank Zappa and Return to Forever and the eclectic fusion of the all instrumental Dixie Dregs 92 93 94 95 96 text source integrity British progressive rock acts had their greatest US success in the same geographic areas in which British heavy metal bands experienced their greatest popularity The overlap in audiences led to the success of arena rock bands such as Boston Kansas and Styx who combined elements of the two styles 92 Progressive rock achieved popularity in Continental Europe more quickly than it did in the US Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early 1970s 97 nb 10 Progressive rock emerged in Yugoslavia in the late 1960s dominating the Yugoslav rock scene until the late 1970s 99 100 Few of the European groups were successful outside of their own countries with the exceptions of Dutch bands like Focus and Golden Earring who wrote English language lyrics and the Italians Le Orme and PFM whose English lyrics were written by Peter Hammill and Peter Sinfield respectively 101 Some European bands played in a style derivative of English bands 102 verification needed nb 11 The Kosmische music scene in Germany came to be labelled as krautrock internationally 104 and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon 105 Krautrock bands such as Can which included two members who had studied under Karlheinz Stockhausen 106 tended to be more strongly influenced by 20th century classical music than the British progressive rock bands whose musical vocabulary leaned more towards the Romantic era Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock 107 Progressive soul Edit Main article Progressive soul Concurrently African American popular musicians drew from progressive rock s conceptual album oriented approach This led to a progressive soul movement in the 1970s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop 108 Among these musicians were Sly Stone Stevie Wonder Marvin Gaye Curtis Mayfield and George Clinton 109 In discussing the development Martin cites 1970s albums by Wonder Talking Book Innervisions Songs in the Key of Life War All Day Music The World Is a Ghetto War Live and the Isley Brothers 3 3 while noting that the Who s progressive rock influenced Who Are You 1978 also drew from the soul variant 110 Dominic Maxwell of The Times calls Wonder s mid 1970s albums prog soul of the highest order pushing the form yet always heartfelt ambitious and listenable 111 Decline and fragmentation Edit See also Punk rock and Symphonic pop Political and social trends of the late 1970s shifted away from the early 1970s hippie attitudes that had led to the genre s development and popularity The rise in punk cynicism made the utopian ideals expressed in progressive rock lyrics unfashionable 112 Virtuosity was rejected as the expense of purchasing quality instruments and the time investment of learning to play them were seen as barriers to rock s energy and immediacy 113 There were also changes in the music industry as record companies disappeared and merged into large media conglomerates Promoting and developing experimental music was not part of the marketing strategy for these large corporations who focused their attention on identifying and targeting profitable market niches 114 King Crimson s Robert Fripp believed that the prog movement had gone tragically off course 115 Four of progressive rock s most successful bands King Crimson Yes ELP and Genesis went on hiatus or experienced major personnel changes during the mid 1970s 115 Macan notes the September 1974 breakup of King Crimson as particularly significant calling it the point when all English bands in the genre should have ceased to exist 116 More of the major bands including Van der Graaf Generator Gentle Giant and U K dissolved between 1978 and 1980 117 Many bands had by the mid 1970s reached the limit of how far they could experiment in a rock context and fans had wearied of the extended epic compositions The sounds of the Hammond Minimoog and Mellotron had been thoroughly explored and their use became cliched Those bands who continued to record often simplified their sound and the genre fragmented from the late 1970s onwards 118 In Robert Fripp s opinion once progressive rock ceased to cover new ground becoming a set of conventions to be repeated and imitated the genre s premise had ceased to be progressive 119 The era of record labels investing in their artists giving them freedom to experiment and limited control over their content and marketing ended with the late 1970s 120 Corporate artists and repertoire staff exerted an increasing amount of control over the creative process that had previously belonged to the artists 121 and established acts were pressured to create music with simpler harmony and song structures and fewer changes in meter A number of symphonic pop bands such as Supertramp 10cc the Alan Parsons Project and the Electric Light Orchestra brought the orchestral style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration Jethro Tull Gentle Giant and Pink Floyd opted for a harder sound in the style of arena rock 5 Few new progressive rock bands formed during this era and those who did found that record labels were not interested in signing them 122 The short lived supergroup U K was a notable exception since its members had established reputations they produced two albums that were stylistically similar to previous artists and did little to advance the genre 123 Part of the genre s legacy in this period was its influence on other styles as several European guitarists brought a progressive rock approach to heavy metal and laid the groundwork for progressive metal Michael Schenker of UFO and Uli Jon Roth who replaced Schenker in Scorpions expanded the modal vocabulary available to guitarists 124 further explanation needed Roth studied classical music with the intent of using the guitar in the way that classical composers used the violin 125 Finally the Dutch born and classically trained Alex and Eddie Van Halen formed Van Halen featuring ground breaking whammy bar tapping and cross picking guitar performances 126 that influenced shred music in the 1980s 127 Commercialisation Edit By the early 1980s progressive rock was thought to be all but dead as a style an idea reinforced by the fact that some of the principal progressive groups had developed a more commercial sound What went out of the music of these now ex progressive groups was any significant evocation of art music John Covach 11 Some established artists moved towards music that was simpler and more commercially viable 128 verification needed 11 Arena rock bands like Journey Kansas Styx GTR ELO and Foreigner either had begun as progressive rock bands or included members with strong ties to the genre These groups retained some of the song complexity and orchestral style arrangements but they moved away from lyrical mysticism in favour of more conventional themes such as relationships 129 These radio friendly groups have been called prog lite 130 Genesis transformed into a successful pop act the prog supergroup Asia consisting of members of Yes King Crimson and ELP scored a number one album in 1982 131 and a re formed Yes released the relatively mainstream 90125 1983 which yielded their only US number one single Owner of a Lonely Heart One band who remained successful into the 1980s while maintaining a progressive approach was Pink Floyd who released The Wall late in 1979 The album which brought punk anger into progressive rock 132 was a huge success and was later filmed as Pink Floyd The Wall citation needed nb 12 Post punk and post progressive Edit Main articles Post punk and Post progressive See also New wave music Punk and progressive rock were not necessarily as opposed as is commonly believed Both genres reject commercialism and punk bands did see a need for musical advancement 140 nb 13 Author Doyle Green noted that post punk emerged as a kind of progressive punk 145 Post punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as progressive art or studio perfectionism 146 In contrast to punk rock it balances punk s energy and skepticism with art school consciousness Dadaist experimentalism and atmospheric ambient soundscapes World music especially African and Asian traditions was also a major influence 147 Progressive rock s impact was felt in the work of some post punk artists although they tended not to emulate classical rock or Canterbury groups but rather Roxy Music King Crimson and krautrock bands particularly Can 148 verification needed nb 14 Punishment of Luxury s music borrowed from both progressive and punk rock 150 whilst Alternative TV who were fronted by the founder of the influential punk fanzine Sniffin Glue Mark Perry toured and released a split live album with Gong offshoot Here amp Now 151 Talking Heads Jerry Harrison left and David Byrne late 1970s The term post progressive identifies progressive rock that returns to its original principles while dissociating from 1970s progressive rock styles 152 and may be located after 1978 153 Martin credits Roxy Music s Brian Eno as the sub genre s most important catalyst explaining that his 1973 77 output merged aspects of progressive rock with a prescient notion of new wave and punk 154 New wave which surfaced around 1978 79 with some of the same attitudes and aesthetic as punk was characterised by Martin as progressive multiplied by punk 155 Bands in the genre tended to be less hostile towards progressive rock than the punks and there were crossovers such as Fripp and Eno s involvement with Talking Heads and Yes replacement of Rick Wakeman and Jon Anderson with the pop duo the Buggles 155 When King Crimson reformed in 1981 they released an album Discipline which Macan says inaugurated the new post progressive style 156 The new King Crimson line up featured guitarist and vocalist Adrian Belew who also collaborated with Talking Heads playing live with the band and featuring on their 1980 album Remain in Light 157 158 According to Martin Talking Heads also created a kind of new wave music that was the perfect synthesis of punk urgency and attitude and progressive rock sophistication and creativity A good deal of the more interesting rock since that time is clearly post Talking Heads music but this means that it is post progressive rock as well 154 Neo progressive rock Edit Main article Neo progressive rock A second wave 159 of progressive rock bands appeared in the early 1980s and have since been categorised as a separate neo progressive rock subgenre 160 These largely keyboard based bands played extended compositions with complex musical and lyrical structures 161 Several of these bands were signed by major record labels including Marillion IQ Pendragon and Pallas 162 Most of the genre s major acts released debut albums between 1983 and 1985 and shared the same manager Keith Goodwin a publicist who had been instrumental in promoting progressive rock during the 1970s 163 The previous decade s bands had the advantage of appearing during a prominent countercultural movement that provided them with a large potential audience but the neo progressive bands were limited to a relatively niche demographic and found it difficult to attract a following Only Marillion 164 and Saga 165 experienced international success Neo progressive bands tended to use Peter Gabriel era Genesis as their principal model 166 They were also influenced by funk hard rock and punk rock 167 The genre s most successful band Marillion suffered particularly from accusations of similarity to Genesis although they used a different vocal style incorporated more hard rock elements 168 and were very influenced by bands including Camel and Pink Floyd 169 170 Authors Paul Hegarty and Martin Halliwell have pointed out that the neo progressive bands were not so much plagiarising progressive rock as they were creating a new style from progressive rock elements just as the bands of a decade before had created a new style from jazz and classical elements 171 Author Edward Macan counters by pointing out that these bands were at least partially motivated by a nostalgic desire to preserve a past style rather than a drive to innovate 172 1990s 2000s Edit Third wave Edit Porcupine Tree performing in 2007 A third wave of progressive rock bands who can also be described as a second generation of neo progressive bands 159 emerged in the 1990s The use of the term progressive to describe groups that follow in the style of bands from ten to twenty years earlier is somewhat controversial as it has been seen as a contradiction of the spirit of experimentation and progress 173 174 These new bands were aided in part by the availability of personal computer based recording studios which reduced album production expenses and the Internet which made it easier for bands outside of the mainstream to reach widespread audiences 175 Record stores specialising in progressive rock appeared in large cities 173 The shred music of the 1980s was a major influence on the progressive rock groups of the 1990s 173 Some of the newer bands such as the Flower Kings Spock s Beard and Glass Hammer played a 1970s style symphonic prog but with an updated sound 176 A number of them began to explore the limits of the CD in the way that earlier groups had stretched the limits of the vinyl LP 177 Progressive metal Edit Main article Progressive metal A Change of Seasons by Dream Theater source source A multipart suite by Dream Theater that combines elements of progressive rock and heavy metal Problems playing this file See media help Progressive rock and heavy metal have similar timelines Both emerged from late 1960s psychedelia to achieve great early 1970s success despite a lack of radio airplay and support from critics then faded in the mid to late 1970s and experienced revivals in the early 1980s Each genre experienced a fragmentation of styles at this time and many metal bands from the new wave of British heavy metal most notably Iron Maiden onwards displayed progressive rock influences 178 Progressive metal reached a point of maturity with Queensryche s 1988 concept album Operation Mindcrime Voivod s 1989 Nothingface which featured abstract lyrics and a King Crimson like texture and Dream Theater s 1992 Images and Words 179 Progressive rock elements appear in other metal subgenres Black metal is conceptual by definition due to its prominent theme of questioning the values of Christianity 180 Its guttural vocals are sometimes used by bands who can be classified as progressive such as Mastodon Mudvayne and Opeth 181 Symphonic metal is an extension of the tendency towards orchestral passages in early progressive rock 182 Progressive rock has also served as a key inspiration for genres such as post rock 183 post metal and avant garde metal 184 math rock 185 power metal and neo classical metal 186 New prog Edit Not to be confused with Neo progressive rock New prog describes the wave of progressive rock bands in the 2000s who revived the genre According to Entertainment Weekly s Evan Serpick Along with recent success stories like System of a Down and up and comers like the Dillinger Escape Plan Lightning Bolt Coheed and Cambria and the Mars Volta create incredibly complex and inventive music that sounds like a heavier more aggressive version of 70s behemoths such as Led Zeppelin and King Crimson 187 2010s Edit The Progressive Music Awards were launched in 2012 by the British magazine Prog to honour the genre s established acts and to promote its newer bands Honorees however are not invited to perform at the awards ceremony as the promoters want an event that doesn t last three weeks 188 full citation needed 2020s Edit Progressive rock as a genre continues into the 2020s with existing bands like Yes Marillion and Porcupine Tree along with more recently notable bands like Riverside creating new music centered around the style Festivals EditMany prominent progressive rock bands got their initial exposure at large rock festivals that were held in Britain during the late 1960s and early 1970s King Crimson made their first major appearance at the 1969 Hyde Park free concert before a crowd estimated to be as large as 650 000 in support of the Rolling Stones 189 Emerson Lake amp Palmer debuted at the 1970 Isle of Wight Festival at which Supertramp Family and Jethro Tull also appeared 190 Jethro Tull were also present at the 1969 Newport Jazz Festival the first year in which that festival invited rock bands to perform Hawkwind appeared at many British festivals throughout the 1970s although they sometimes showed up uninvited set up a stage on the periphery of the event and played for free 191 Supertramp performing in 1979 King Crimson performing at the Dour Festival 2003 Renewed interest in the genre in the 1990s led to the development of progressive rock festivals 173 ProgFest organised by Greg Walker and David Overstreet in 1993 was first held in UCLA s Royce Hall 192 and featured Sweden s Anglagard the UK s IQ Quill and Citadel CalProg was held annually in Whittier California during the early 2000s 193 The North East Art Rock Festival or NEARfest 175 held its first event in 1999 in Bethlehem Pennsylvania and held annual sold out concerts until 2012 s NEARfest Apocalypse which featured headliners U K and Renaissance 194 Other festivals include the annual ProgDay the longest running and only outdoor progressive music festival in Chapel Hill North Carolina the annual Rites of Spring Festival RoSfest in Sarasota Florida The Rogue Independent Music Festival in Atlanta Georgia Baja Prog in Mexicali Mexico ProgPower USA in Atlanta Georgia ProgPower Europe in Baarlo Netherlands and ProgStock in Rahway NJ which held its first event in 2017 195 Progressive Nation tours were held in 2008 and 2009 with Dream Theater as the headline act Night of the Prog in Sankt Goarshausen Germany is an established European progressive rock festival held every July during 2 3 days for 12 years Reception EditThe genre has received both critical acclaim and criticism throughout the years Progressive rock has been described as parallel to the classical music of Igor Stravinsky and Bela Bartok 192 This desire to expand the boundaries of rock combined with some musicians dismissiveness toward mainstream rock and pop dismayed critics and led to accusations of elitism Its intellectual fantastic and apolitical lyrics and shunning of rock s blues roots were abandonments of the very things that many critics valued in rock music 196 Progressive rock also represented the maturation of rock as a genre but there was an opinion among critics that rock was and should remain fundamentally tied to adolescence so rock and maturity were mutually exclusive 197 Criticisms over the complexity of their music provoked some bands to create music that was even more complex citation needed nb 15 Most of the musicians involved were male as was the case for most rock of the time 201 Female singers were better represented in progressive folk bands 202 who displayed a broader range of vocal styles than the progressive rock bands 203 with whom they frequently toured and shared band members 204 British and European audiences typically followed concert hall behaviour protocols associated with classical music performances and were more reserved in their behaviour than audiences for other forms of rock This confused musicians during US tours as they found American audiences less attentive and more prone to outbursts during quiet passages 205 These aspirations towards high culture reflect progressive rock s origins as a music created largely by upper and middle class white collar college educated males from Southern England The music never reflected the concerns of or was embraced by working class listeners 206 except in the US where listeners appreciated the musicians virtuosity 207 Progressive rock s exotic literary topics were considered particularly irrelevant to British youth during the late 1970s when the nation suffered from a poor economy and frequent strikes and shortages 208 Even King Crimson leader Robert Fripp dismissed progressive rock lyrics as the philosophical meanderings of some English half wit who is circumnavigating some inessential point of experience in his life 209 Bands whose darker lyrics avoided utopianism such as King Crimson Pink Floyd and Van der Graaf Generator experienced less critical disfavour 210 I wasn t a big fan of most of what you d call progressive rock remarked Floyd guitarist David Gilmour I m like Groucho Marx I don t want to belong to any club that would have me for a member 211 Ian Anderson the frontman of Jethro Tull commented I still like the original term that comes from 1969 progressive rock but that was with a small p and a small r Prog Rock on the other hand has different connotations of grandeur and pomposity Some of it was a little bit overblown but in the case of much of the music it was absolutely spot on 212 While music fans for years have declared progressive rock to be dead 213 the scene is still active with many sub genres 214 List of progressive rock artists EditMain article List of progressive rock artistsSee also Edit Look up progressive rock in Wiktionary the free dictionary 1960s portalBritish folk rock Free jazz List of musical works in unusual time signatures Minimal music Musique concrete Second Viennese School Serialism Third stream Timeline of progressive rock Category Progressive rock record labelsNotes Edit In the rock music of the 1970s the art descriptor was generally understood to mean aggressively avant garde or pretentiously progressive 13 From about 1967 pop music was increasingly used in opposition to the term rock music a division that gave generic significance to both terms 20 Formalism refers to a preoccupation with established external compositional systems structural unity and the autonomy of individual art works Eclecticism like formalism connotes a predilection towards style synthesis or integration However contrary to formalist tendencies eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media sometimes referring simultaneously to vastly different musical genres idioms and cultural codes Examples include the Beatles Within You Without You 1967 and Jimi Hendrix s 1969 version of The Star Spangled Banner 27 Allan Moore writes It should be clear by now that although this history appears to offer a roughly chronological succession of styles there is no single linear history to that thing we call popular song Sometimes it appears that there are only peripheries Sometimes audiences gravitate towards a centre The most prominent period when this happened was in the early to mid 1960s when it seems that almost everyone irrespective of age class or cultural background listened to the Beatles But by 1970 this monolothic position had again broken down Both the Edgar Broughton Band s Apache Dropout and Edison Lighthouse s Love grows were released in 1970 with strong Midlands London connections and both were audible on the same radio stations but were operating according to very different aesthetics 36 LP sales first overtook those of singles in 1969 59 Beatles member John Lennon is known to have attended at least one such event a happening called the 14 Hour Technicolor Dream 65 Paul McCartney was deeply connected to the underground through his involvement with the Indica Gallery 66 They are also generally credited as the first global standard bearers of symphonic rock 70 Tull alone scored 11 gold albums and 5 platinum albums 82 Pink Floyd s 1970 album Atom Heart Mother reached the top spot on the UK charts Their 1973 album The Dark Side of the Moon which united their extended compositions with the more structured kind of composing employed when Syd Barrett was their songwriter 83 spent more than two years at the top of the charts 84 and remained on the Billboard 200 album chart for fifteen years 85 Radio airplay was less important in the UK where popular music recordings had limited air time on official radio stations as opposed to on pirate radio until the 1967 launch of BBC Radio 1 58 UK audiences were accustomed to hearing bands in clubs and British bands could support themselves through touring US audiences were first exposed to new music on the radio and bands in the US required radio airplay for success 88 Radio stations were averse to progressive rock s longer form compositions which hampered advertising sales 89 Van der Graaf Generator were much more popular there than in their own country Genesis were hugely successful in Continental Europe at a time when they were still limited to a cult following in Britain and the US 98 importance of example s This can be heard in Triumvirat an organ trio in the style of ELP Ange and Celeste who have had a strong King Crimson influence 102 Others brought national elements to their style Spain s Triana introduced flamenco elements groups such as the Swedish Samla Mammas Manna drew from the folk music styles of their respective nations and Italian bands such as Il Balletto di Bronzo Rustichelli amp Bordini leaned towards an approach that was more overtly emotional than that of their British counterparts 103 Pink Floyd were unable to repeat that combination of commercial and critical success as their sole follow up The Final Cut was several years in coming 133 and was essentially a Roger Waters solo project 134 that consisted largely of material that had been rejected for The Wall 135 The band later reunited without Waters and restored many of the progressive elements that had been downplayed in the band s late 1970s work 136 This version of the band was very popular 137 but critical 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Archived from the original on 25 August 2016 Retrieved 12 October 2016 Sweers Britta 2004 Electric Folk The Changing Face of English Traditional Music New York Oxford University Press Tamm Eric 1995 Brian Eno His Music and the Vertical Color of Sound Da Capo Press ISBN 0 306 80649 5 archived from the original on 5 December 2006 Whiteley Sheila 1992 The Space Between the Notes Rock and the Counter Culture London Routledge Willis Paul E 2014 Profane Culture Princeton University Press ISBN 978 1 4008 6514 7 Archived from the original on 24 February 2017 Retrieved 12 October 2016 Zoppo Donato 2014 Prog Una suite lunga mezzo secolo in Italian Arcana ISBN 978 88 6231 639 2 Archived from the original on 19 August 2020 Retrieved 8 December 2016 Further reading EditLucky Jerry The Progressive Rock Files Burlington Ontario Collector s Guide Publishing Inc 1998 304 pages ISBN 1 896522 10 6 paperback Gives an overview of progressive rock s history as well as histories of the major and underground bands in the genre Lucky Jerry The Progressive Rock Handbook Burlington Ontario Collector s Guide Publishing Inc 2008 352 pages ISBN 978 1 894959 76 6 paperback Reviews hundreds of progressive rock bands and lists their recordings Also provides an updated overview similar to The Progressive Rock Files Snider Charles The Strawberry Bricks Guide To Progressive Rock 3rd Edition Chicago Ill Kindle Direct Publishing 2020 572 pages ISBN 978 0 578 48980 3 paperback A veritable record guide to progressive rock with band histories musical synopses and critical commentary all presented in the historical context of a timeline Stump Paul The Music s All That Matters A History of Progressive Rock London Quartet Books Limited 1997 384 pages ISBN 0 7043 8036 6 paperback Smart telling of the history of progressive rock focusing on English bands with some discussion of American and European groups Takes you from the beginning to the early 1990s Weingarten Marc Yes Is The Answer And Other Prog Rock Tales Barnacle Book Rare Bird Books 2013 280 pages ISBN 978 0 9854902 0 1 Defense of the genre Yfantis Vasileios Is Prog Rock Really Progressive CreateSpace Independent Publishing Platform 2020 119 pages ISBN 978 1548614416 Exploring the evolution and the future of the genre Retrieved from https en wikipedia org w index php title Progressive rock amp oldid 1137588213, wikipedia, wiki, book, books, library,

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