Echolyn and American Progressive Rock
Contemporary Music Review © 2000 OPA (Overseas Publishers Association) N.V. 2000, Vol. 18, Part 4, pp. 13-61 Published by license under Reprints available directly from the publisher the Harwood Academic Publishers imprint, Photocopying permitted by license only part of The Gordon and Breach Publishing Group. Printed in Malaysia. Echolyn and American Progressive Rock John Covach Beginning in the late 1960s and continuing through most of the 1970s, British progressive- rock groups developed a style of music that privileged long, complicated pieces, employing a wide variety of musical techniques and features drawn from classical music. While the leading progressive rock groups were British, progressive-rock groups also formed in the United States. This study provides an overview of American progressive-rock bands since 1966, examining how these musicians attempted to blend elements of European art music with rock music. Musical excerpts from Starcastle, Kansas, Happy the Man, However, and U-Totem and others are considered. Recent music from the Philadelphia-band progressive- rock quintet echolyn is placed in the context of 1970s and 80s American progressive rock; analysis of portions of A Suite for the Everyman (1992) and Letters (1995), informed in part by scores and sketches provided the author by the group, detail how echolyn employs art- music compositional techniques in a rock setting in a way that blends "symphonic-prog" and "avant-prog" approaches. KEYWORDS: Birdsongs of the Mesozoic, Christopher Buzby, Cartoon, Echolyn, Emerson, Lake & Palmer (ELP), Genesis, Gentle Giant, Happy the Man, Henry Cow, However, Jethro Tull, Kansas, Brett Kull, Soft Machine, Starcastle, Progressive Rock, U-Totem, Yes Introduction In the early and mid 1970s across the United States, it was almost imposs- ible to tune in an FM rock radio station without hearing the progressive- rock music of groups like Yes, Emerson, Lake & Palmer (ELP), and Jethro Tull.
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