Progressive Rock

Progressive rock Progressive rock (also referred to as prog rock or prog) is a subgenre of rock music[1] that developed in the late 1960s and early 1970s as part of "a mostly British attempt to elevate rock music to new levels of artistic credibility."[2] John Covach, in Contemporary Music Review, says that many thought it would not just "succeed the pop of the 1960s as much as take its rightful place beside the modern classical music of Stravinsky and Bartók."[3] Progressive rock bands pushed "rock's technical and compositional boundaries" by going beyond the standard rock or popular verse-chorus-based song structures. The Oxford Companion to Music states that progressive rock bands "...explored extended musical structures which involved intricate instrumental patterns and textures and often esoteric subject matter."[4] Additionally, the arrangements often incorporated elements drawn from classical, jazz, and later world music. Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy. Progressive rock bands sometimes used "concept albums that made unified statements, usually telling an epic story or tackling a grand overarching theme."[2] Progressive rock developed from late 1960s psychedelic rock, as part of a wide- ranging tendency in rock music of this era to draw inspiration from ever more diverse influences. The term was initially applied to the music of British bands such as Pink Floyd, King Crimson, Yes, Genesis, Jethro Tull, and Emerson, Lake & Palmer,[2] reaching its peak of popularity in the mid 1970s. Although retaining considerable popularity, progressive rock sales were in the decline by the end of the 1970s as disco and punk rock gained popularity. Elements of the genre are present in 1980s neo-progressive rock as well as 1990s and 2000s progressive metal and new prog. Contents 1 History 1.1 Precursors 1.2 Early bands 1.3 Peak in popularity and decline 1.3.1 Progressive rock fans 1.4 1980s revitalization 1.5 1990s and 2000s 2 Festivals 3 See also 4 Notes 5 References 6 Further reading History Precursors Allmusic cites Bob Dylan's poetry, The Mothers of Invention's Freak Out! (1966) and The Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) as the "earliest rumblings of progressive and art rock",[2] while progressiverock.com cites the latter as its "starting point".[5] The Beach Boys' concept album Pet Sounds (1966) and Jefferson Airplane's second album Surrealistic Pillow (1967) were both big influences for many progressive rock bands.[6][7][8] From the mid-1960s The Left Banke, The Beatles, The Rolling Stones and The Beach Boys had pioneered the inclusion of harpsichords, wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach inspired introduction.[9] Freak Out!, released in 1966, had been a mixture of progressive rock, garage rock and avant-garde layered sounds. In the same year, the band "1-2-3", later renamed Clouds, began experimenting with song structure, improvisation, and multi-layered arrangements. [10] In March of that year, The Byrds released "Eight Miles High", a pioneering psychedelic rock single with lead guitar heavily influenced by the jazz soloing style of John Coltrane. Later that year, The Who released "A Quick One While He's Away", the first example of the rock opera form, and considered by some to have been the first prog epic.[11] In 1967, Jeff Beck released the single "Beck's Bolero", inspired by Maurice Ravel's Bolero, and, later that year, Procol Harum released the Bach-influenced single "A Whiter Shade of Pale". Also in 1967, the Moody Blues released Days of Future Passed, combining classical-inspired orchestral music with traditional rock instrumentation and song structures. Pink Floyd's first album, The Piper at the Gates of Dawn, contained the nearly ten-minute improvisational psychedelic instrumental "Interstellar Overdrive". By the late 1960s, many rock bands had begun incorporating instruments from classical and Eastern music, as well as experimenting with improvisation and lengthier compositions. East of Eden, for example, used Eastern harmonics and instruments such as a sumerian saxophone on the album Mercator Projected in 1969.[12] Some, such as the UK's Soft Machine, began to experiment with blends of rock and jazz. By the end of the decade, other bands, such as Deep Purple and The Nice, had also recorded classical- influenced albums with full orchestras: Concerto for Group and Orchestra and Five Bridges. This use of classical music would crystallise in the '70s with Amon Düül's orchestral score on Made in Germany (1975), Pink Floyd's Atom Heart Mother (1970), and several works of Frank Zappa. Early bands Bands formed by the end of the 1960s included The Moody Blues (1964), Pink Floyd (1965), Soft Machine (1966), Barclay James Harvest (1966), Gong (1967), Genesis (1967), Jethro Tull (1967), The Nice (1967), Procol Harum (1967), The United States of America (1967), Van der Graaf Generator (1967), Yes (1968), Rush (1968), Caravan (1968), King Crimson (1969), Supertramp (1969), and Gentle Giant (1969).[13] Although many of these bands were from the UK, the genre was growing popular elsewhere in continental Europe. Triumvirat led Germany's significant progressive rock movement, while Tangerine Dream, Faust, Can and Neu! led the related Berlin School and Krautrock movements. Italian progressive rock is an important sub-genre led by PFM, Le Orme, and Banco, all of which gained significant international recognition. Other notable Italian bands include New Trolls, Area, Goblin, Museo Rosenbach, Il Balletto di Bronzo, Maxophone and Locanda Delle Fate. Focus and Trace formed in the Netherlands, France produced Ange, Gong, and Magma, the Quebec-based Harmonium were one of the first significant North American progressive bands, and Greece saw the debut of Aphrodite's Child led by electronic music pioneer Vangelis. Spain produced numerous prog groups, including Triana. Scandinavia was represented by Norwegian band Popol Vuh, Swedish band Kaipa, and Finnish band Wigwam. Peak in popularity and decline Progressive rock's popularity peaked in the mid-1970s, when prog artists regularly topped reader polls in mainstream popular music magazines in Britain and America, and albums like Mike Oldfield's Tubular Bells topped the charts. By this time, several North American progressive rock bands had been formed. Kansas, which had actually existed in one form or another since 1971, became one of the most commercially successful of all progressive rock bands. Pop star Todd Rundgren moved into prog with his new band, Utopia. Toronto's Rush, who formed in 1968, became a major band, with a string of hit albums beginning in the mid-1970s. In Australia, a number of progressive rock bands made their mark in the late 60s, including Tamam Shud, Tully and Khavas Jute. In Japan, Osamu Kitajima's 1974 progressive rock album Benzaiten, featuring Haruomi Hosono, utilized electronic music instruments such as a synthesizer and drum machine.[14] Back in Britain, Electric Light Orchestra, who formed in 1970 as a progressive offshoot of "The Beatles sound", saw their greatest success during the mid-1970s. Bruce Eder claims that "the rot" in progressive rock "started to set in during 1976, the year Emerson, Lake & Palmer (ELP) released their live album Welcome Back My Friends".[15] Eder claims that this album was "suffering from poor sound and uninspired playing" which "stretched the devotion of fans and critics even thinner." He claims that "the end [of progressive rock] came quickly: by 1977, the new generation of listeners was even more interested in a good time than the audiences of the early 1970s, and they had no patience for 30 minute prog-rock suites or concept albums based on Tolkienesque stories." He asserts that by the late 1970s and early 1980s, "ELP was barely functioning as a unit, and not producing music with any energy; Genesis was redefining themselves ... as a pop-rock band; and Yes was back to doing songs running four minutes ... and even releasing singles."[16] In 1974, four of the biggest bands in progressive rock–Yes, Emerson, Lake & Palmer (ELP), Genesis and King Crimson–each either ceased performing or changed personnel. Members of Yes and ELP left to pursue solo work, as did Genesis's lead singer Peter Gabriel, who left his band (though Genesis would continue with Phil Collins as lead vocalist). Lead guitarist Robert Fripp announced the end of King Crimson after the Red album was released. When, in 1977, Yes and ELP re-formed, they enjoyed success without retaining their previous popularity. From 1975 to 1976, progressive bands elaborated their stage shows, thus moving away from their original ethos of "music first".[17] In the late 1970s, Great Britain was going through difficult times due to a poor economy, frequent strikes and shortages. With its exotic, literary topics, much of progressive rock was dismissed by British youth.[17] Punk rock, a simpler and more aggressive style of rock that emerged in this era, and disco, which also emerged during this period, helped move critical opinion and popular support in the UK away from progressive rock, ending the genre's reign as a leading style there.[18][19] However, established progressive bands still had a strong fan base. Indeed Rush, Genesis, ELP, Supertramp, Yes, Queen, and Pink Floyd each regularly released albums that attained the top ten and were followed by with

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