Progressive

Progressive rock (sometimes shortened to prog, prog rock, or progrock) is a subgenre of rock music which arose in the late 1960s, reached the peak of its popularity in the 1970s, but continues as a musical form long afterward. more...

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Progressive rock artists reject the limitations of popular music and aspire to create music for serious listening, often aspiring to the sophistication of jazz and classical music, sometimes incorporating folk and world music influences in as well.

It is musical dynamics, as well as the virtuosity of the musicians, which most distinguishes progressive rock from more accessible rock music. As with its counterpart progressive jazz, progressive rock is very much a musician's form of music, which may be analyzed, studied and appreciated by knowledgeable listeners. Although some progressive rock artists have enjoyed phenomenal success, progressive rock by nature appeals to a more specialized set of listeners than the broader target audiences of popular music. As it is almost always designed for attentive listening, some may consider it unsuitable as "background music", making it tough for progressive bands to be aired on radio.

The major acts that defined the genre in the 1970s are Jethro Tull, Yes, Genesis, Pink Floyd, Emerson, Lake & Palmer, Rush, Gentle Giant, Van der Graaf Generator and King Crimson.

Progressive rock is difficult to define conclusively and to everyone's satisfaction, as the above bands bear little resemblance to one another in their respective sounds and fan bases. Outspoken King Crimson leader Robert Fripp has voiced his disdain for the term. Indeed, in some cases the bands themselves or well-known critics would question whether one or another of the above bands fit the term “progressive rock” as it is now defined by the music industry and by many fans. There is also debate on whether artists and bands as varied as The Moody Blues, Frank Zappa, Deep Purple, Phish, Tool and The Flaming Lips belong to the genre.

Characteristics of progressive rock

There is probably no single element shared by all music that is considered to define progressive rock. Still, there are certainly noticeable trends; these common, though not universal, features are:

Long compositions, sometimes running over 20 minutes, with intricate melodies and harmonies. Terms such as "epic" and "sprawling" are often used to describe the scope of these pieces, which are perhaps the genre's clearest nod to classical music. A very early example (perhaps the first multi-part suite to appear in prog rock) is "In Held Twas In I" by Procol Harum, clocking in at 17:30. Classic examples include Genesis' 23-minute "Supper's Ready" and Jethro Tull's 44-minute (two album sides) "Thick as a Brick."; Many progressive rock songs (including the aforementioned "epics") are made up of shorter parts that could stand alone as songs in their own right. Yes' single "Soon," for example, is a five-minute excerpt from "The Gates of Delirium," which is over 20 minutes long. Often, these parts are explicitly called out on the track listings, much like movements in classical suites. Yes' "Close to the Edge" is divided into four parts, Rush's "2112" into seven, Pink Floyd's "Shine On You Crazy Diamond" into nine. Sometimes, parts of what is, at least in name, the same composition appear on several different albums; parts of King Crimson's "Larks' Tongues in Aspic" have, to date, appeared on three different albums in three different decades.; Lyrics that convey intricate and sometimes impenetrable narratives, covering such themes as science fiction, fantasy, history, religion, war, madness, and literature.; Most progressive rock bands have also avoided direct political commentary, preferring to shade their views in fictional or allegorical settings — for example, Genesis' album Selling England by the Pound is tied together by a theme of commercialism versus naturalism and several songs by Rush address libertarian and/or Randian themes. Some exceptions exist, though most postdate progressive rock's commercial heyday.; Concept albums, in which a theme or storyline is explored throughout an entire album or series of albums, sometimes in a manner similar to a film or a play, often called "rock operas" (a term popularized by The Who, though they are not generally considered a progressive rock act). In the days of vinyl, concept albums were often two-record sets with striking gatefold sleeves. Famous examples include The Lamb Lies Down on Broadway by Genesis, and the series of albums by Pink Floyd, starting with The Dark Side of the Moon and culminating in the double album "The Wall", accompanied by a film of the same name and an elaborate live show.; Use of instruments unusual in rock music, including electronic instrumentation, as well as unusual vocal styles. One acoustic example is the extensive use of the flute by Jethro Tull frontman Ian Anderson. Keyboard instruments including the synthesizer, organ, piano, and Mellotron are very common in progressive rock and were often tweaked or modified to sound even less recognizable. Non-western or non-contemporary instruments may also be featured; for instance, the sitar has been used extensively on many pieces. Gentle Giant occasionally used an amplified string instrument of their own creation known as the Shulberry. Unusual vocal styles are also a hallmark of the genre, exemplified by such singers as Peter Hammill of Van der Graaf Generator.; The occasional use of orchestras and choirs, either actual or simulated. The most famous examples include the title suite from Pink Floyd's Atom Heart Mother, The Nice's Five Bridges Suite and Yes' second album Time and a Word. Often, a Mellotron was used to simulate strings or a choir, and the sound of the Mellotron itself became a trademark of some types of progressive music. Less well-known bands such as Renaissance made extensive use of an actual orchestra. Recently, the use of orchestras has begun to become more common in progressive rock.; Use of unusual time signatures, rhythmic techniques, scales, or tunings. Many pieces use multiple time signatures and/or tempi, sometimes concurrently (King Crimson's "Thela Hun Ginjeet", for example, contains passages in which some band members play in 7/8 and others in 4/4 to create an "off-balance" effect, better known as a "polyrhythm").; An extremely wide dynamic range, with very quiet and very loud passages often occurring in the same piece of music. Use of compression to reduce this effect is much less common than in other forms of rock music. This is characteristic of music that is meant to be listened to relatively closely and for its own sake, as opposed to relatively casually or as background.; Solo passages for virtually every instrument. Some prog players improvised their solos, (e.g. Keith Emerson of Emerson Lake and Palmer), while other players composed their solos in advance (e.g. Tony Banks of Genesis). Soloing contributed to the fame of such performers as guitarists David Gilmour and Steve Howe, keyboardists Rick Wakeman and Keith Emerson, and drummer Neil Peart.; Inclusion of classical pieces on albums. For example, Emerson Lake and Palmer have performed arrangements of pieces by Copland, Bartók, Mussorgsky and others, and often feature quotes from J. S. Bach in lead breaks. Sometimes these pieces are significantly reinterpreted; Jethro Tull recorded a version of La Bourée by Bach in which they turned the piece into a "sleazy jazzy night-club song" (in Ian Anderson's own words).; An aesthetic linking the music with visual art, a trend started by The Beatles with Sgt. Pepper's Lonely Hearts Club Band and enthusiastically embraced during the prog heyday. Some bands became as well-known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes, and Storm Thorgerson and his studio Hipgnosis for their work with Pink Floyd and others. H.R. Giger's painting for Emerson, Lake and Palmer's Brain Salad Surgery is one of the most famous album sleeves ever produced, although it was censored to remove a phallus. Paul Whitehead produced evocative gatefold album covers and sleeves for Genesis and Van der Graaf Generator.; The use of sound effects in compositions, otherwise known as Musique concrète. This is a particular trademark of Pink Floyd; see, for example, "Speak to Me," the opening track from Dark Side of the Moon. The sounds of warfare can be heard throughout Jethro Tull's single "Warchild," and The Mars Volta make heavy use of ambient noise on their album Frances the Mute.; Exchanging of members. There is a tendency for members of progressive rock groups to work between bands and create side projects. Jon Anderson of Yes sang on a King Crimson album, and Robert Fripp of King Crimson played on two Van der Graaf Generator albums. Drummer Bill Bruford has worked with Yes, Genesis (very briefly), King Crimson, prog supergroup UK, and on many other projects, including a jazz fusion group that bore his own name. In the 1990s, a touring version of Yes featured almost everyone who had ever been a member, with two full lineups playing in various combinations "in the round" during concerts.;

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