YOUR ULTIMATE PROGRESSIVE ROCK RESOURCE
PROGRESSIVE ROCK HISTORY
1967 to the PRESENT
From the precursors toward the end of the Sixties until today.
Sub-genres, groups of reference, essential discs for each decade.
What would you think of having a trustworthy companion that would guide you through a journey that discovers the discs you dream about? That’s exactly our goal with ...
Through this "mini guide" of the "progressive music", it is intended that you would discover the kind of music by the means of four chronicles whereby each one covers one wave of the progressive movement. They correspond to this era : end of the Sixties (prehistory), the Seventies (the golden age), the Eighties (the silver age, the birth of neo progressive rock) and at the Nineties at our days (rebirth and new progressive metal).
Research & Redaction in French by...
Ronald Couture (ProgLucky), CANADA (FOUNDER OF PROGARCHIVES.COM)
SPECIAL THANKS...!
Improved and adapted in English by...
Ian Alterman (Maani), USA (FORUM MODERATOR & SPECIAL COLLABORATOR)
COLLABORATION (coming soon)...
A- INTRODUCTION
The problem of “those words” is back – “progressive music” or “progressive rock” (or “prog,” for close friends – with you to choose! The etymology of those terms has become almost “evil,” creating such a “headache” that it is difficult even to think, much less catalogue this diverting genre of music. But isn’t the “essence” of something specific to each one of us? After all, what good is it to disparage an album if one hasn’t listened to it? With “progressive rock,” one often only enjoys an album after having listened to it several times. Out tympanums are interpreters, but the “spirit” is our only judge.
It would take quite an astute mind to define it clearly. Many such minds have tried, with more or less success. But ultimately each person has his/her own definition. Given human nature, there is nothing surprising about that. And yet even I have not yet offered you a definition…yet. Now I do so with, inevitably, an ounce (or maybe more…) of partiality.
"Progressive rock was largely a European movement, and drew most of its influences from classical music and jazz fusion, in contrast to American rock, which was historically influenced by rhythm & blues and country. Over the years various sub-genres of progressive rock - or prog - have emerged, such as symphonic rock, art rock, neo progressive and progressive metal."
By pushing the research a little further, one realizes that, in general, most definitions of “progressive” share in common such terms as “EVOLUTION,” “PROGRESSION” and “INOVATION,” and include a completely different approach to composition from other rock formats - particularly including a “goodbye” to three-minute compositions constructed of verse-chorus-verse-chorus. One therefore finds new musical structures (pieces from 6 to 20 minutes, with intricate melodies and harmony), new instruments (electric guitars, violin, flute), and various keyboards (mellotron, Hammond B3, synthesizers, piano, ARP, Moog), which combine to create “musical odysseys” that call to mind jazz, musicals, or classical music, the latter of which gives us “symphonic prog.”
With regard to musical structure, “prog” usually offers complex arrangements – often including long, beautiful instrumental sections - and virtuoso musicianship, combining technical mastery and emotional solos. An early example is the 23-minute “Echoes” by PINK FLOYD. Other famous examples include YES’ “Close to the Edge” (18 minutes) and GENESIS’ “Supper’s Ready” (23 minutes). When not “forced” into using “mainstream” structures, the artists have freer reign to integrate their individual and collective cultures and influences – classical, jazz, traditional – into the “energy” of their music.
Listen to a piece in its entirety:
Group: GENESIS
Album: Foxtrot (1972)
Song: Supper’s Ready (22:52)
This “progressive current” – particularly developed in England at the end of the Sixties – moved away from traditional structures of rock and blues roots to explore European music in a broader way. Like any music, “progressive rock” has sub-genres, defined according to the way in which various artists interpreted the new “current.” Ultimately, if one wanted to complicate matters, one could “define” an almost unlimited number of sub-genres. However, without being completely exhaustive, the primary sub-genres are:
Experimental (SOFT MACHINE, KING CRIMSON), psychedelic (PINK FLOYD), theatrical (GENESIS), traditional (EMERSON, LAKE & PALMER), symphonic (YES, CAMEL, GENTLE GIANT), and art rock/pomp prog in the Seventies (SUPERTRAMP). There are also the Canterbury School (CARAVAN, GONG), jazz-fusion (BRAND X, Frank ZAPPA), Italian progressive rock (BANCO DEL MUTUO SOCCORSO, LE ORME, PFM), German progressive current (ELOY - space rock, AMON DUUL II - krautrock); TANGERINE DREAM (progressive electronics), R.I.O. Henry COW) and even zheul (MAGMA). There is even progressive instrumental (Mike OLDFIELD), progressive folk (JETHRO TULL, RENAISSANCE, The STRAWBS), progressive hard prog (RUSH), neo-prog (MARILLION, ARENA, PENDRAGON), and progressive metal (DREAM THEATER, AYREON, PAIN OF SALVATION).
B- PROGRESSIVE ROCK (1967 to the Present)
In this mini-guide to “progressive music,” I hope to get you to discover this genre by means of four “chronicles,” each one covering one “wave” of the “progressive movement.” These four chronicles correspond approximately to: the end of the Sixties (pre-history), the Seventies (the golden age), the Eighties (the money age), and the Nineties to the present (rebirth, and new progressive metal).
For certain groups, one will find a selection of their best albums. The interested reader will also find here some “tools” to dig a little into the history of “progressive rock,” … It is also a question of providing the maximum information at the reader’s fingertips so that, while having profited from the information provided, he can choose to add to that information.
In conclusion, I could never have written this article by myself. I relied heavily on the Web, and a gigantic network and exchange of information regarding “progressive rock,” which makes up the majority of the information provided below. As noted above, after an “eclipse” in the Eighties (progressive rock having had its “glory days” in the Seventies), “progressive rock” has been seeing a formidable rebirth, which I invite you to be part of! If you have not already done so, it is high time to discover this musical universe full of passion and unsuspected richness.
Gradually yours...!
Pierre Dulieu - Belgique
1- PREHISTORY... not yet "prog" but almost! (1967 - 1969)
Ian Alterman - USA
Improved and adapted in English
FRANK ZAPPA
& THE MOTHERS OF INVENTION
Freak Out
- 1966 -
A first complex and disturbed project. With its parodies of pop music, its dissonances,
its avant-gardism, its odd effects, and its unforeseeable arrangements,
Frank Zappa’s “Freak Out” exploded all conventions of popular music.
Although the following are not yet productions of “progressive rock” as that term is used these days, they are nevertheless the first discs of “art rock” – or, if one wants, the first “tests” intended to raise rock music to higher levels of artistic credibility. By experimenting with sound texture, electronics, modern instruments, and new studio techniques, and “importing” sounds and ideas from a variety of global musical sources, these groups “opened up the doors” of rock…for better and for worse – but mostly for better!
 | The BEATLES |
 | The MOODY BLUES |
 | PINK FLOYD |
 | PROCOL HARUM |
 | CARAVAN |
 | GILES GILES & FRIPP |
 | The NICE |
 | The SOFT MACHINE |
 | VAN DER GRAAF GENERATOR (Peter HAMMILL) |
Sergeant Pepper's Lonely Hearts Club Band - 1967
At this point, the “stakes” of progressive rock are solid.
The curtain can then fall on the Sixties.
Indeed, one has already entered the Seventies.
2- THE FIRST WAVE (1970 - 1979)
The Golden Age... The Pioneers
Whereas The BEATLES were of “working class hero” status, several musicians of progressive rock came from the middle and lower middle classes. They often had training in classical music, and attended the colleges or universities. They were ready to make rock their own way. Towards the end of the Sixties, English groups wanted to “exceed” the musical format imposed on them by the industry. They wanted to do something different, something that required more than the short 3-minute songs with verses and choruses. Some turned to psychedelic rock, others to the example of The BEATLES, others gave birth to “metal” (BLACK SABBATH). They chose to amalgamate rock, classical, folk, jazz, electronics, contemporary, medieval and other forms. They chose to give up the couplet/refrain structure for the greater freedom of more complex structures. These young musicians wanted to profit – musically – from new techniques, both instrumental and recording.
Jerry Lucky, author of “The Progressive Rock Files,” enumerates some of the elements that mark "progressive rock" :
“Longer songs, changes of tempo, mellotron, use of symphony orchestra,
words like “cosmic” or “philosophical,” etc.
If these are the elements that began the history of progressive rock began, then October 10, 1969 is the date that marks the true beginning of progressive rock, as KING CRIMSON’s “In The Court of the Crimson King” smashed to pieces virtually every standard and norm of rock, in as “monstrous” a fashion as the hallucinogenic face on its cover (which was painted by 23-year-old English artist Barry Godber in 1969; Godber died of a heart attack the following year).
KING CRIMSON’s first album fused psychedelic with symphonic, electronic, experimental jazz, mellotron, new studio techniques, and even bits of metal and folk, to mark the birth of a mature, and extremely aggressive, “progressive rock” sound.
"In The Court Of The Crimson King"
- 1969 -
Around this time, other groups were starting to build unique, sophisticated and inventive “sounds,” including GENESIS (then fronted by Peter Gabriel), CARAVAN, JETHRO TULL, PFM, PINK FLOYD, and SUPERTRAMP. Thirty years later, innumerable “progressive” groups would name these bands when laying claim to the heritage of progressive rock.
What follows are some of the great groups who were part of the enthralling and promising “first wave.” The bands are listed in chronological order of their appearance on the scene: the year noted in parentheses is the year in which their debut album appeared.
[Please note: This is NOT meant to be a complete list of all bands, just an example of some, so don't be offended if I leave your favourite one out!]
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| IMITATION... INNOVATION... SENSATION...! The MOODY BLUES began an R&B-influenced rock band in 1964. They consequently respected as one of the most innovative and long lasting groups to emerge during the 1960s. The MOODIES captured the imagination of music fans around the world with the landmark "Days Of Future Passed", one of the earliest « classical rock » records and featured the London Festival Orchestra as musical accompanists. They attempted to create one of the first concept like recordings ever having written songs which attempt to reflect the mood of a passing day. In my mind this album works as well as "Sgt Pepper" and early FLOYD offerings. This recording is a true classic and is essential in all good collections… During the years 1967 – 1974, they recorded seven very successfull albums, all of which went gold with releases like "On The Threshold Of A Dream" and "Question Of Balance". In the ‘70s, their music from this period was ambitious and pastoral and philosophical, featuring songwriting contributions from all five members (Graham Edge – drummer, Mike Pinder – keyboards, Ray Thomas – guitars, John Lodge – bass guitar, Justin Hayward – guitar). Hibernation of a sort followed in the mid ‘70s, as each member of the band released solo albums (Hayward and Lodge had the most success with their effort, BLUE JAYS). The band regrouped in the '80s and picked up where they left off (commercially anyway) with "Long Distance Voyager". Though the ‘90s found the MOODIES less of a commercial force than a cult band, the group still tours and releases albums on occasion (including 1999’s "Strange Time "). | ||||||||||
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| PINK FLOYD is not simply one of the progenitors of progressive rock, but is probably the most popular group in the entire genre. Chosen by original founder/lyricist Syd Barrett, the name refers to the first names of two bluesmen: PINK Anderson and FLOYD Council, and the joining of the two names is translated into English as “Pink Flamingo.” The band originally formed in the mid-1960s during the “psychedelic” rock period, but then helped to develop what we now know as “progressive rock” – and particularly “space rock”- through the use of sound textures, effects, and emerging recording studio tricks and techniques. Personally, I have always believed that PINK FLOYD is an overrated group. They have some good albums, but also some very average albums. For me, PINK FLOYD is not as good as GENESIS or YES, yet they are undoubtedly more popular, better recognized, and more respected by the masses and critics. TOP CDs: | ||||||||||
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| Although JETHRO TULL is comprised of excellent musicians, it is primarily the creation and representation of its singer, lyricist and flutist, Ian ANDERSON. Indeed, Ian ANDERSON’s flute playing is one of the most characteristic elements of the group. The music is a mixture of folk, medieval, blues, jazz, rock, traditional, and almost everything else. With 60 million albums sold, and more than 250 concerts played in 40 countries each year, JETHRO TULL continues to record and perform. It is one of the “dinosaurs” of progressive rock, and one of its most beloved groups. TOP CDs: | ||||||||||
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| A reference in the triumphal years of English Progressive rock, CARAVAN grew out of the breakup of The WILDE FLOWERS, a Canterbury-based group formed in 1964 as an R&B-based outfit with a jazzy-edge. In the wake of the earlier group’s dissolution, Pye Hastings (guitar & vocals), Richard Sinclair (bass & vocals), David Sinclair (keyboards), and Richard Coughlan (drums) formed CARAVAN in January of 1968. Their music etablished the mix of humor and progressive sounds (with warmful and pleasant vocal parts, long instrumental flight: guitar, organ sounds, and piano work, etc.), taking its roots from classical music through jazz and traditional English influences. CARAVAN is still active today, playing many live dates in Britain and Holland. The year 2000 saw the beginning of renewed activity (festival, concert, etc.). 2002 also saw the band play their first performance in the United States in 28 years at NEARfest 2002. TOP CDs: | ||||||||||
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| Many people mark the beginning of progressive rock in 1969 with the first album by KING CRIMSON. As noted, however, the “germs” of prog were present since at least 1967. The BEATLES, PINK FLOYD, MOODY BLUES and PROCOL HARUM had “prepared” the way between 1967 and 1969. In 1969, a young English group, only together for a few months, gave us the album “In the Court of the Crimson King” (1969). The music had a dark, majestic, sometimes chaotic quality. Founded by guitarist Robert Fripp, the group underwent many personnel changes over the years. Some of the notable musicians who played with the group at one time or another include Greg Lake, Bill Bruford, John Wetton, Adrian Belew and Tony Levin. On the side, Fripp entered into numerous collaborations, including with Brian Eno, Peter Gabriel and David Bowie, in addition to leaving several solo albums. TOP CDs: | ||||||||||
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| Before changing itself into a “pop-rock” group in the early to mid-1980s, GENESIS was one of the most highly beloved, even “worshipped” progressive bands. The group entered its “golden age” in 1971, when drummer Phil Collins and guitarist Steve HACKETT joined founders Peter GABRIEL (vocals, lyrics), Tony BANKS (keyboards) and Mike RUTHERFORD (bass). The music of the group became highly melodic and theatrical, propelled primarily by Peter GABRIEL’s unique lyrics and theatrics, and Tony BANKs’ keyboards, particularly the heavy use of mellotron. GENESIS was arguably one of the two or three most influential progressive rock groups, and that influence is likely to be felt for a long time. TOP CDs: | ||||||||||
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| I am far from being an expert on this group. However, it would be difficult to omit them if only for their album “Pawn Hearts,” which I know well. VDGG is not the best-known of groups, but “Pawn Hearts” is not only worth listening to but also historically significant. Peter HAMMILL, singer and lyricist of the group, has a unique voice, one which was an influence for several later prog vocalists. His lyrics border the depth of literature, while his music, epic in nature, benefited from the band’s original arrangements. “Pawn Hearts” also features piano, keyboards and saxophone, as well as guitar work from KING CRIMSON founder Robert FRIPP. Their sound (already unique because driven by saxophone and keyboards, guitars and drums) cannot be easily related to the archetypes of folk, blues, rock or jazz, despite the fact that it contains elements of all. TOP CDs: | ||||||||||
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| Along with GENESIS, YES is another of the two or three most influential progressive bands. The “golden age” of YES began in 1971 (around the same time as that of GENESIS), with the line-up of Jon ANDERSON (vocals, lyrics), Chris SQUIRE (bass), Steve HOWE (guitar), Bill BRUFORD (drums) and Tony Kaye (keyboards). However, it was not until Tony Kaye was replaced by keyboardist extraordinaire Rick WAKEMAN in 1972 that YES reached its peak. At that point, YES was comprised of perhaps the most versatile, virtuoso musicians in the history of progressive rock. TOP CDs: | ||||||||||
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| This well-known group’s Progressive rock of the early ‘70s, The STRAWBS differed from their more successful compatriots – The MOODY BLUES, KING CRIMSON, PINK FLOYD. Their sound originated to a more traditional British folk style blended with enough rock to form their unique style,. They have recorded over 15 albums through the years, with various line ups around the core of Dave Cousins, who is the main driving force in the band and main songwriter. He has also released a couple of excellent solo albums. The STRAWBS most interesting period began with “Grave New World”, and ended “Ghosts”, the best probably being “Bursting At The Seams”. They were also known as the first band to feature the keyboard playing of Rick WAKEMAN. You can be from now on heard and seen on “Classic Rock Legends”, a DVD from the eponymous label. | ||||||||||
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| Italy produced several excellent progressive rock groups during the 1970s, and then again in the 1990s. LE ORME is one of the oldest and best known. Created by bass player Aldo Tagiapietra, keyboardist Toni Pagliuca and drummer Mike Dei Rossi, the band reminds of Seventies groups built upon keyboards parts (RARE BIRD, THE NICE, ATOMIC ROOSTER…) and even BANCO DEL MUTUO SOCCORSO due to the Italian vocals. The group stayed together during the 1970's, by which time they'd evolved into an EMERSON, LAKE & PALMER-type progressive rock band, cutting four albums in that vein. Re-formed as a quartet (keyboards-sitar, bass, keyboards and drums) and with a guest guitarist for “Il Fiume”, LE ORME goes back to what they do best: same elaborated symphonicism with a classical touch, same enhanced lyricism and same developments of complex, delicate themes with loads of breaks, dreamy or nostalgic ambiences. The group still records, and recently released “Elementi” (2001) and “L’Infinito” (2004). As for “Elementi” (2001), it proves to be one of the best albums by Le ORME ever!!! TOP CDs: | ||||||||||
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| Rising from the ashes of The YARDBIRDS (the group which also spawned LED ZEPPELIN) in 1969, the band went though several membership changes, with Keith Relf and his sister Jane (who later fronted the very RENAISSANCE-like ILLUSION) existing and McCarty all but gone after 1971. In this incarnation they recorded two albums but never quite made it, despite some success on England’s campus circuit. The new lineup formed around the core of guitarist Michael Dunford, bassist Jon Camp, keyboardist John Tout, and Terry Sullivan on drums, with classically-trained vocalist Annie Haslam (an aspiring singer with opratic training and a three-octave range) and lyrics by poetess Betty Thatcher, fused classical and rock formats to make some of the most beautiful and touching songs in the prog-rock/folk genre. By the late 70s progressive folk-rock was a dying breed and the band found the music world around them evolving into the punk and new wave booms. TOP CDs: | ||||||||||
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| EMERSON, LAKE & PALMER qualifies as a “super-group”; a band comprised of musicians who were initially known as members of prior bands. Keyboardist Keith Emerson was a member of the group THE NICE, which was known for its fantastic scenic performances. Greg Lake was the original bass player and vocalist for KING CRIMSON, after which he met Emerson and they explored the idea of creating a new group. Carl Palmer was the drummer for several groups, most notably ATOMIC ROOSTER. The music of EMERSON, LAKE & PALMER is heavily influenced by classical music; indeed, in addition to its original compositions, the band interpreted and arranged many classical masterpieces for progressive rock instrumentation. The sound of the “Moog” synthesizer – of which Emerson was one of the pioneers – is one of the major components of the group’s sound. The band was also know for its theatrics, including Emerson stabbing his Hammond organ. TOP CDs: | ||||||||||
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| A unique group, extremely under-appreciated even by many progressive rock fans. The music of GENTLE GIANT is a very complex mixture of traditional rock and “medieval” style music, with bits of classical, jazz and folk, and often features intricate, extremely complicated instrumental and vocal arrangements which can frighten many neophytes. TOP CDs: | ||||||||||
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| Over their 30-odd year history, HAWKWIND were probably the most famous underground rock band in the world. The group was formed in the late '60s by guitarist/singer Dave BROCK, guitarist Mick SLATTERY and saxman/flautist/singer Nik TURNER. Dave BROCK was the leader of HAWKWIND and he was the captain, as it were. The band never would have made it for 30 years without Dave. HAWKWIND's history has been marked by a series of confusing line-ups through 40 or so personnel changes. Their sound has continued to metamorphose and evolve: an almost jazz feel ("Hawkwind"), the "experimental" & acoustic sounds of early releases ("In Search Of Space"), changing to the metal sound of their days (mid 70's), and a modern electronic feel on the latest ("Electric Teepee"). Yes, one can detect definite evolutions. With the primary use of the synthesizer, heavy and delay with the touch of techno, HAWKWIND practically created a genre of music that be called: psychedelic space-rock. Their creativity seems to be in the use of the synths to add to the intense moods of their songs. They were the master of the acid-space rock genre. TOP CDs: | ||||||||||
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| A variant of progressive rock that some have called sophisto-rock. SUPERTRAMP is a sophisticated pop band that was able to continuously turn out very good songs as "Crime Of The Century" & "Dreamer". They were unique and derivative and exciting and fun. Those first couple of albums were a nice escape from the sometimes passionless ness of prog rock. Their music has been described as whimsy, lighthearted, fluff and a million other variations on this theme. Other thing is that they also have the ability to inject some humor into their music now and then. With over 18 million copies to date, "Breakfast In America" is one ot the greatest melodic pop/rock albums of the seventies. After that album, SUPERTRAMP continued to develop a more R&B-flavored style. TOP CDs: | ||||||||||
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The MOODY BLUES - England (1964)
Days of Future Passed (1967) / In Search of the Lost Chord (1968) / On The Threshold Of A Dream (1969) / To Our Children's Children's Children (1970) / A Question Of Balance (1970) / Every Good Boy Deserves Favour (1971) / Seventh Sojourn (1972) 
