Progressive rock

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For other uses, see Prog.

Progressive rock

King Crimson, one of the most important and influential progressive

rock bands

Art rock
Other names
classical rock

prog

symphonic rock

Stylistic origins Rock

pop

progressive

proto-prog

psychedelic rock

acid rock

jazz

folk

classical

Cultural origins Mid- to late 1960s, United Kingdom and United

States

Derivative forms Krautrock[1]

new-age music[2]

post-rock[3]

symphonic pop[4]

Subgenres
 Canterbury scene[5]

neo-progressive rock[6]

Rock in Opposition[5]

Fusion genres

Avant-prog

progressive metal

Other topics

Arena rock

art music

concept album

experimental rock

hard rock

new wave

post-progressive

post-punk

progressive pop

rock opera

Progressive rock (shortened as prog; sometimes called art rock, classical

rock or symphonic rock) is a broad subgenre of rock music[7] that developed in the United
Kingdom and United States throughout the mid to late 1960s. 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, not dancing.
Prog is based on fusions of styles, approaches and genres, involving a continuous move
between formalism and eclecticism. Due to its historical reception, prog's scope is
sometimes limited to a stereotype of long solos, overlong 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 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. Prog 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.
[8]
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.[9] 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, and some crossed into symphonic pop, arena rock, or new wave.
Early groups who exhibited progressive features are retroactively described as "proto-
prog". In 1967, "progressive rock" constituted a diversity of loosely associated style codes.
The Canterbury scene, originating in the late 1960s, denoted a subset of prog 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
[hide]

1Definition and characteristics

o 1.1Scope and related terms

o 1.2Relation to art and social theories

2History

o 2.1196670: Origins

2.1.1Background and roots

2.1.2Proto-prog and psychedelia

o 2.21970s80s

2.2.1Peak years (197176)

2.2.2Decline and fragmentation

2.2.3Post-punk and post-progressive

2.2.4Neo-progressive rock

o 2.31990s2000s

2.3.1Third wave

2.3.2Progressive metal

2.3.3New prog

o 2.42010s

3Festivals

4Reception

5List of progressive rock bands

6See also
 7Notes

8References

9Sources

10Bibliography

11Further reading

Definition and characteristics[edit]

For more details on this topic, see 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" and "symphonic
rock".[10] Historically, "art rock" has been used to describe at least two related, but distinct,
types of rock music.[11]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.[11][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.[13] "Prog" was devised in the 1990s[14] 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.[15]
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.[16] 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.[17]When the "progressive" label
arrived, the music was dubbed "progressive pop" before it was called "progressive rock",[18]
[nb 2]
with the term "progressive" referring to the wide range of attempts to break with
standard pop music formula.[20] 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.[21]
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[16]

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.[22] Author Kevin Holm-Hudson believes that "progressive rock is a style far
more diverse than what is heard from its mainstream groups and what is implied by
unsympathetic critics."[23] According to musicologists Paul Hegarty and Martin Halliwell, Bill
Martin and Edward Macan authored major books about prog rock while "effectively
accept[ing] the characterization of progressive rock offered by its critics. ... they each do so
largely unconsciously."[22] Academic John S. Cotner contests Macan's view that progressive
rock cannot exist without the continuous and overt assimilation of classical music into rock.
[17]
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.[16] Writer Emily
Robinson says that the narrowed definition of "progressive rock" was a measure against
the term's loose application in the late 1960s; that it "had been applied to everyone
from Bob Dylan to the Rolling Stones". Debate about the exact criteria and scope of the
genre continues in the 2010s, particularly on Internet forums dedicated to prog. [14]
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.[14] 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."[25][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")." [17]
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.[27]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."[28] 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."[29]

History[edit]
Further information: Timeline of progressive rock
196670: Origins[edit]
For more details on the origins of progressive rock from the perspective of its early
synonyms, see 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.
[30]
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.
[31]
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." [32] 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. [33][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 prog but as essential developments of progressiveness in its early days".
[35]
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".[36] 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.[13] The productions of Phil Spector were key influences,[37] as they
introduced the possibility of using the recording studio to create music that otherwise could
never be achieved.[38] The same[vague] is said for the Beach Boys' Pet Sounds (1966),
which Brian Wilson intended as an answer to Rubber Soul[39] and which in turn influenced
the Beatles when they made Sgt. Pepper's.[40][41]
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.[42] 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.[43] 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.[44] In turn, the Byrds' vocal harmonies inspired those of Yes,[45] and British electric
folk bands like Fairport Convention, who emphasised instrumental virtuosity.[46] 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.[47]
Pet Sounds and Sgt. Pepper's[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[48]

Pet Sounds and Sgt. Pepper's, 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[49][50] and as turning points
wherein rock, which previously had been considered dance music, became music that was
made for listening to.[51][48] Between Pet Sounds and Sgt. Pepper's, the Beach Boys released
the single "Good Vibrations" (1966), dubbed a "pocket symphony" by Derek Taylor, who
worked as a publicist for both groups. The song contained an eclectic array of exotic
instruments and several disjunctive key and modal shifts.[52] Scott Interrante
of Popmatters wrote that its influence on progressive rock and the psychedelic movement
"can't be overstated".[53] Martin likened the song to the Beatles' "A Day in the Life" from Sgt.
Pepper's, in that they showcase "the same reasons why much progressive rock is difficult
to dance to".[54]
Although Sgt. Pepper's 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[55] 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.[56][nb 5] Bill Bruford, a veteran of several progressive rock bands, said that Sgt.
Pepper's transformed both musicians' ideas of what was possible and audiences' ideas of
what was acceptable in music.[58] 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."[59] 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.[60]
Proto-prog and psychedelia[edit]
Main articles: Proto-prog, Psychedelic rock, and Acid rock
See also: Rock opera and Canterbury scene

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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)."[61] The availability of newly affordable
recording equipment coincided with the rise of a London underground scene at which 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.[62][nb 6] Many psychedelic, electric folk and early
progressive bands were aided by exposure from BBC Radio 1 DJ John Peel.[65] Jimi
Hendrix, who rose to prominence in the London scene and recorded with a band of English
musicians, initiated the trend towards virtuosity in rock music. [66] 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."[67]
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).[68] 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,[example's importance?] particularly on
their 1969 album A Salty Dog.[69] 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.[69]
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.[70] 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.[71] 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.[72]

"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".[73]

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.[74][75] 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.[76] Almost all of the genre's major bands, including Jethro Tull, King
Crimson, Yes, Genesis, Van der Graaf Generator, ELP, Gentle Giant and Curved Air,
released their debut albums during the years 19681970. Most of these were folk-rock
albums that gave little indication of what the band's mature sound would become, but King
Crimson's In the Court of the Crimson King (1969) was a fully formed example of the genre.
[73][nb 7]
Critics assumed the album to be the logical extension and development of late 1960s
proto-progressive rock exemplified by the Moody Blues, Procol Harum, Pink Floyd and the
Beatles.[77] According to Macan, the album may be the most influential to progressive rock
for crystallising the music of earlier "proto-progressive bands ... into a distinctive,
immediately recognizable style".[73]
1970s80s[edit]
Peak years (197176)[edit]
See also: Krautrock and Zeuhl

Pink Floyd performing The Dark Side of the Moon (1973), the best-selling album of the entire
progressive rock period.[78]

Most of the genre's major bands released their most critically acclaimed albums during the
years 19711976.[79] The genre experienced a high degree of commercial success during
the early 1970s. Jethro Tull, ELP, 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. [80][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.[84][example's importance?]
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.[85] This is at least in part due to music industry differences
between the US and Great Britain.[86][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.[89] North American progressive rock bands and artists often
represented hybrid styles such as the complex arrangements of 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.[90][91]
 British progressive rock acts had their greatest US success in the same
[92][93][94][textsource integrity?]

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.[90]
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.[95][nb 10] Few of the European groups were
successful outside of their own countries, with the exceptions of bands like Focus, who
wrote English-language lyrics, and Le Orme and PFM, whose English lyrics were written
by Peter Hammill and Peter Sinfield, respectively.[97] Some European bands played in a
style derivative of English bands.[98][verification needed][nb 11] The "Kosmische music" scene in Germany
came to be labelled as "krautrock" internationally[100] and is variously seen[weasel words] as part of
the progressive rock genre or an entirely distinct phenomenon.[101] Bands such as Can,
which included two members who had studied under Karlheinz Stockhausen,[102] tended to
be more strongly influenced by 20th century classical music than the British 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.[103]
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.[104] 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.[105] 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.[106]

King Crimson's Robert Fripp believed that the prog movement had gone "tragically off course". [107]

Macan writes that the September 1974 breakup of King Crimson was when "all English
bands in the genre should have ceased to exist."[108] Four of the biggest bands in
progressive rock[which?] ceased performing or experienced major personnel changes during
the mid-1970s.[107] More of the major bands, including Van der Graaf Generator, Gentle
Giant and U.K., dissolved between 1978 and 1980.[109] 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 clichd. Those bands who continued
to record often simplified their sound, and the genre fragmented from the late 1970s
onwards.[110] 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".[111]
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.
[112]
Corporate artists and repertoire staff exerted an increasing amount of control over the
creative process that had previously belonged to the artists,[113] 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.
[4]

Few new progressive rock bands formed during this era, and those who did found that
record labels were not interested in signing them.[114] The short-lived supergroup U.K. was a
notable exception,[why?] although they tended to carry on in the style of previous bands and
did little to advance the genre.[115] Some of the genre's more important development at this
time occurred in its influence on other styles, as several guitarists with European ties
brought a progressive rock approach to heavy metal and laid the groundwork for the future
progressive metal style. Michael Schenker, of UFO, and Uli Jon Roth, who replaced
Schenker in Scorpions, expanded the modal vocabulary available to guitarists.[116][further explanation
needed]
Roth studied classical music with the intent of using the guitar in the way that classical
composers used the violin.[117] Finally, the Dutch-born and classically trained Alex and Eddie
Van Halen formed Van Halen, who redefined the standard for rock virtuosity[118][peacock term] and
paved the way for the "shred" music of the 1980s.[119]
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 has 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[10]

Some established bands moved towards music that was simpler and more commercially
viable.[120][verification needed][10] Echoes of progressive rock complexity could be heard[weasel words] in arena
rock bands like Journey, Kansas, Styx, GTR, ELO and Foreigner, all of which either had
begun as progressive rock bands or included members with strong ties to the genre. These
bands retained some elements of the orchestral-style arrangements, but they moved away
from lyrical mysticism in favour of teen-oriented songs about relationships. [121] Genesis
transformed into a successful pop act, and a re-formed Yes released the relatively
mainstream 90125 (1983), which yielded their only US number-one single, "Owner of a
Lonely Heart". These radio-friendly groups have been called "prog lite".[122] One band who
experienced great 1980s success while maintaining a progressive approach was Pink
Floyd, who released The Wall late in 1979. The album, which brought punk anger into
progressive rock,[123] 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
Punk and prog were not necessarily as opposed as is commonly believed. Both genres
reject commercialism, and punk bands did see a need for musical advancement. [131][nb
13]
Author Doyle Green says that post-punk emerged as "a kind of 'progressive punk'".
[136]
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".[137] In contrast to punk rock, it balances punk's energy and skepticism
with a re-engagement with an art school consciousness, Dadaist experimentalism, and
atmospheric, ambient soundscapes. It was also majorly influenced from world music,
especially African and Asian traditions.[138] Progressive rock's influence was felt in the work
of some post-punk bands, although these bands tended not to draw on classical rock or
Canterbury bands as influences but rather Roxy Music and krautrock bands, particularly
Can. Groups showed some influence of prog along with their more usually recognised punk
influences.[139][verification needed][nb 14]

Talking Heads, late 1970s

The term "post-progressive" identifies progressive rock that returns to its original principles
while dissociating from established 1970s prog styles,[141] and may be located after 1978.
[142]
Martin credits Roxy Music's Brian Eno as the music's most important catalyst, explaining
that his 197377 output merged aspects of progressive rock with a prescient notion of punk
and new wave.[143] New wave, which surfaced around 197879 with some of the same
attitudes and aesthetic as punk, was characterised by Martin as "progressive" multiplied by
"punk".[144] 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.[144] When King Crimson reformed in 1981, they released an album, Discipline,
which Macan says "inaugurated" the new post-progressive style.[145]According to Martin, the
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."[143]
Neo-progressive rock[edit]
Main article: Neo-progressive rock
A second wave[146] of progressive rock bands appeared in the early 1980s and have since
been categorised as a separate "neo-progressive rock" subgenre.[147] These largely
keyboard-based bands played extended compositions with complex musical and lyrical
structures.[148] Several of these bands were signed by major record labels,
including Marillion, IQ, Pendragon and Pallas.[149] 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. [150] The
previous decade's bands had the advantage of appearing during a
large countercultural movement that provided them with a large potential audience, but the
neo-progressive bands were limited to a niche audience and found it difficult to attract a
following. Only Marillion[151] and Saga[152] experienced international success.
Neo-progressive bands tended to use Gabriel-era Genesis as their "principal model".
[153]
They were also influenced by funk, hard rock and punk rock.[154] The genre's most
successful band, Marillion, suffered particularly from accusations of similarity to Genesis,
although they used a different vocal style and a sound with more of a hard rock element.
[155]
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.[156] 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.[157]
1990s2000s[edit]
Third wave[edit]

Porcupine Tree performs in 2007

A third wave of progressive rock bands, who might more properly be described as a second
generation of neo-progressive bands,[146] 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.[158][159] 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 widely
spread audiences.[160] Record stores specialising in progressive rock appeared in large
cities.[158]
The shred music of the 1980s was a major influence on the progressive rock groups of the
1990s.[158] 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. [161] 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.[162]
Progressive metal[edit]
Main article: Progressive metal

This section may contain excessive or improper use of non-free material. Please
review the use of non-free media according to policy and guidelines and correct any
violations. The talk page may have details. (June 2016)

"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 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 onwards displayed progressive rock
influences.[163]Progressive metal reached a point of maturity with Queensrche's 1988
concept album Operation: Mindcrime and Voivod's 1989 Nothingface, which featured
abstract lyrics and a King Crimson-like texture.[164]
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.
[165]
Its guttural vocals are sometimes used by bands who can be classified as progressive,
such as Mastodon, Mudvayne and Opeth.[166]Symphonic metal is an extension of the
tendency towards orchestral passages in early progressive rock.[167] Progressive rock has
also served as a key inspiration for genres such as post-rock,[168] post-metal and avant-
garde metal,[169] math rock,[170] power metal and neo-classical metal.[171]
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, and Coheed and Cambria, 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."[172]
2010s[edit]
Progressive rock continues to appeal to its longtime fans and is also able to attract new
audiences. The Progressive Music Awards were launched in 2012 by Prog Magazine to
honour the genre's innovators 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".[173]

Festivals[edit]
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.[174] Emerson, Lake & Palmer debuted at
the 1970 Isle of Wight Festival, at which Supertramp, Family and Jethro Tull also appeared.
[175]
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.[176]
Renewed interest in the genre in the 1990s led to the development of progressive rock
festivals.[158] ProgFest, organised by Greg Walker and David Overstreet in 1993, was first
held in UCLA's Royce Hall,[177] and featured Sweden's nglagrd, the UK's IQ, Quill and
Citadel. CalProg was held annually in Whittier, California during the 2000s. [178] The North
East Art Rock Festival, or NEARfest,[160] 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.[179] Other festivals include the
annual ProgDay (the longest-running and only outdoor prog festival) in Chapel Hill, North
Carolina, the annual Rites of Spring Festival (RoSfest)[180] in Gettysburg, Pennsylvania, The
Rogue Independent Music Festival in Atlanta, Georgia, Baja Prog in Mexicali,
Mexico, ProgPower USA in Atlanta, Georgia and ProgPower Europe in Baarlo,
Netherlands. Progressive Nation tours were held in 2008 and 2009 with Dream Theater as
the headline act.

Reception[edit]
The genre has received both a great amount of critical acclaim and criticism throughout the
years. Progressive rock has been described as parallel to the classical music of Igor
Stravinsky and Bla Bartk.[177] This desire to expand the boundaries of rock, combined with
some musicians' dismissiveness toward mainstream rock and pop music, insulted critics
and led to accusations of elitism. Its intellectual, fantastic and apolitical lyrics and its
shunning of rock's blues roots were abandonments of the very things that many critics
valued in rock music.[181] 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 that rock and maturity were mutually exclusive.
[182]
Criticisms over the complexity of their music provoked some bands to create music that
was even more complex.[citation needed][nb 15]
The genre has always had its greatest appeal for white males.[75] Most of the musicians
involved were male, as was the case for most rock music of the time, [186] Female singers
were better represented in the progressive folk bands,[187] who displayed a broader range of
vocal styles than the progressive rock bands[188] with whom they frequently toured and
shared band members.[189]
British and European audiences typically followed concert hall behaviour protocols
associated with classical music performances, and they were more reserved in their
behaviour than were audiences of other forms of rock. This confused musicians during US
tours, as they found that American audiences were less attentive and more prone to
outbursts during quiet passages.[190]
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,[191] except in the US, where listeners appreciated the musicians' virtuosity.
[192]
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.[193] 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".[194] Bands whose darker
lyrics avoided utopianism, such as King Crimson, Pink Floyd and Van der Graaf Generator,
experienced less critical disfavour.[195]

List of progressive rock bands[edit]

Main article: List of progressive rock bands

See also[edit]
Progressive rock portal

1960s portal

1970s portal

Characteristics of progressive rock

Electric folk

Free jazz

List of musical works in unusual time signatures

Minimal music

Musique concrte

Second Viennese School

 Serialism

Third stream

Timeline of progressive rock

Category:Progressive rock record labels

Notes[edit]
1. Jump up^ In the rock music of the 1970s, the "art"
descriptor was generally understood to mean "aggressively
avant-garde" or "pretentiously progressive". [12]

2. Jump up^ From about 1967, "pop music" was increasingly

used in opposition to the term "rock music", a division that
gave generic significance to both terms. [19]

3. Jump up^ Formalism refers to a preoccupation with

established external compositional systems, structural unity,
and the autonomy of individual art works. Eclecticism, like
formalism, connotates 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".[26]

4. Jump up^ 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."[34]

5. Jump up^ LP sales first overtook those of singles in 1969. [57]

6. Jump up^ Beatles member John Lennon is known to have

attended at least one such event, a happening called the 14
Hour Technicolor Dream.[63] Paul McCartney was deeply
connected to the underground through his involvement with
the Indica Gallery.[64]

7. Jump up^ They are also generally credited as the first

global standard-bearers of symphonic rock. [68]
8. Jump up^ Tull alone scored 11 gold albums and 5 platinum
albums.[81]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,
[82]:3435
spent more than two years at the top of the charts [82]:4,
38
and remained on the Billboard 200 album chart for fifteen
years.[83]

9. Jump up^ 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.[86] 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.[87] Radio stations
were averse to progressive rock's longer-form compositions,
which hampered advertising sales.[88]

10. Jump up^ 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.[96]
[example's importance?]

11. Jump up^ 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.[98] 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.[99]

12. Jump up^ 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[124] and
was essentially a Roger Waters solo project[125] that
consisted largely of material that had been rejected for The
Wall.[126] The band later reunited without Waters and restored
many of the progressive elements that had been
downplayed in the band's late-1970s work.[127] This version of
the band was very popular,[128] but critical opinion of their later
albums is less favourable.[129][130]

13. Jump up^ Sex Pistols frontman Johnny Rotten famously

wore a T-shirt that read "I hate Pink Floyd",[114] but he
expressed admiration for Van der Graaf Generator,[132] Can,
[133]
and many years later, Pink Floyd themselves.[134] 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.[135]

14. Jump up^ Julian Cope of the Teardrop Explodes wrote a

history of the krautrock genre, Krautrocksampler.[140][example's
importance?]
 15. Jump up^ Yes' Tales from Topographic Oceans[183] and "The
Gates of Delirium"[184] 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.[185]

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179. Jump up^ Weigel 2012e.

180. Jump up^ Rosfest staff 2013.

181. Jump up^ Macan 1997, p. 168-73.

182. Jump up^ Martin 2002, p. 107.

183. Jump up^ Martin 1996, p. 145.

 184. Jump up^ Martin 1996, p. 158.

185. Jump up^ Anderson 2008.

186. Jump up^ Hegarty & Halliwell 2011, p. 204.

187. Jump up^ Macan 1997, p. 135.

188. Jump up^ Sweers 2004, p. 204.

189. Jump up^ Sweers 2004, p. 131.

190. Jump up^ Macan 1997, p. 263.

191. Jump up^ Macan 1997, pp. 14448.

192. Jump up^ Macan 1997, p. 156.

193. Jump up^ Hegarty & Halliwell 2011, pp. 163164.

194. Jump up^ Tamm 1990.

195. Jump up^ Macan 1997, p. 78.

Sources[edit]
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Brown, Arthur (2008), BBC Prog Rock Britannia: An Observation

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Cleveland, Barry (March 2005), "Prog Rock", Guitar Player,

NewBay Media LLC

Clark, William (25 August 2012), Ian Crichton Talks About Saga,
Guitars, Throwing Shapes and 20/20, guitarinternational.com,
retrieved 6 June 2013

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Crimson (LP liner notes), EG Records, Ltd

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the list wisdom of the '70s", Guitar Player

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May 2013

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Prog", Mojo, BBC/Guinness Publishing

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Bibliography[edit]
 Bannister, Matthew (2007). White Boys, White Noise:
Masculinities and 1980s Indie Guitar Rock. Ashgate Publishing,
Ltd. ISBN 978-0-7546-8803-7.

Boone, edited by John Covach & Graeme M.

(1997), Understanding Rock: Essays in Musical
Analysis ([Online-Ausg.]. ed.), New York: Oxford University
Press, ISBN 0-19-510005-0

Boone, edited by John Covach & Graeme M.

(1997), Understanding Rock: Essays in Musical
Analysis ([Online-Ausg.]. ed.), New York: Oxford University
Press, ISBN 0-19-510005-0

Bowman, Durrell S. (2001), K. Holm-Hudson, ed., "'Let Them All

Make Their Own Music:' Individualism, Rush, and the
Progressive/Hard Rock Alloy, 197677", Progressive Rock
Reconsidered, Taylor & Francis

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. 19661973, 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, 19541984, Bowling Green, OH: Bowling Green State
University Popular Press

Everett, Walter (1999). The Beatles as Musicians: Revolver

Through the Anthology. New York, NY: Oxford University
Press. ISBN 0-19-512941-5.

Friedlander, Paul (1998), Rock and Roll: A Social History,

Boulder, CO: Westview Press

Haworth, John Trevor; Smith, Michael A. (1975). Work and

Leisure: An Interdisciplinary Study in Theory, Education and
Planning. Lepus Books.

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
 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.

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.

Moore, Allan F. (2016). Song Means: Analysing and Interpreting

Recorded Popular Song. Routledge. ISBN 978-1-317-05265-
4.* 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.

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.

Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost

Masterpiece. London: Sanctuary. ISBN 1860746276.

Prown, Pete; Newquist, Harvey P. (1997). Legends of Rock

Guitar: The Essential Reference of Rock's Greatest Guitarists.
Hal Leonard Corporation. ISBN 978-0-7935-4042-6.

Robinson, Emily (2017). The Language of Progressive Politics in

Modern Britain. Palgrave Macmillan UK. ISBN 978-1-137-50664-
1.

Rojek, Chris (2011). Pop Music, Pop Culture. Polity. ISBN 978-0-
7456-4263-5.
 Romano, Will (2010). Mountains Come Out of the Sky: The
Illustrated History of Prog Rock. Milwaukee, WI: Backbeat
Books. p. 17. ISBN 978-0-87930-991-6.

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
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Willis, Paul E. (2014). Profane Culture. Princeton University

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Zoppo, Donato (2014). Prog: Una suite lunga mezzo secolo (in
Italian). Arcana. ISBN 978-88-6231-639-2.

Further reading[edit]
Library resources about
Progressive rock

Res
ources in your library

Res
ources in other libraries

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. Chicago, Ill.: Lulu Publishing (2008) 364
pages, ISBN 978-0-615-17566-9 (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.

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