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Ronald Couture - The Essential Mini-Guide To Progressive Rock (2008)
Ronald Couture - The Essential Mini-Guide To Progressive Rock (2008)
Ronald Couture - The Essential Mini-Guide To Progressive Rock (2008)
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All rights reserved. No parts of this publication may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or by any information storage and retrieval system without a written permission
from the author.
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
DEDICATION
3
FORTY YEARS OF HISTORY
MY STORY WITH PROGRESSIVE ROCK MUSIC
If I remember correctly, my first experience with the vast underground "prog scene" was around the mid-70s, when a fond-
ness for GENESIS’ "Foxtrot" led me to purchase the rest of their albums. You know how it is at school, though: friends
introduce you to strange new ideas and influences, and gradually you become hooked on new kinds of music. So it was
with me. I listened intently to all the new sounds and styles with intrigue and delight. My collection of prog rock LPs was
fairly extensive and growing, as I was buying about three new prog LPs each week, whenever my finances would allow.
At Sherbrooke University in Quebec, my eagerness to explore progressive music led to quite a large collection of great
bands and albums, including GENESIS (Nursery Cryme, Foxtrot, Selling England By The Pound), PINK FLOYD (Dark
Side Of The Moon, Wish You Were Here, Animals), ELOY (Dawn, Ocean), The STRAWBS (Hero And Heroine, Grave
New World), BARCLAY JAMES HARVEST (Everyone Is Everybody Else, Time Honoured Ghosts), JETHRO TULL
(Thick As A Brick, Aqualung), The MOODY BLUES (Days Of Future Passed, On The Threshold Of A Dream), RENAIS-
SANCE (Scheherazade And Other Stories), and SUPERTRAMP (Crime Of The Century), among others. I also became
fascinated with Italian progressive rock (BANCO, Le ORME, PFM), as well as other non-English European prog, and the
expanding American prog scene.
I continue to expand my knowledge and appreciation for this rock genre which offers so many diverse styles and creative
elements. My passion for prog rock has grown to encompass many groups, and lately I’ve realized that more and more of
my favorites come from the neo-prog, symphonic prog, prog metal and space rock sub-genres. This phase of my musical
exploration has taken me into the realms of new groups like MARILLION (Script For A Jester’s Tear, Misplaced
Childhood, Marbles), ANGLAGARD (Hybris), ARENA (The Visitor, Immortal?), AYREON (Into The Electric Castle,
The Universal Migrator Part 1 & 2), CAMEL (Mirage, Harbour Of Tears), DREAM THEATER (Images & Words,
Octavarium), IQ (Subterranea, Dark Matter), LANDS END (Natural Selection), PAIN OF SALVATION (The Perfect
Element Part 1), PALLAS (The Dreams Of Men), PENDRAGON (The Masquerade Overture, Believe), PINEAPPLE
THIEF (Variations On A Dream), and PORCUPINE TREE (Lightbulb Sun, In Absentia, Deadwing), among others.
In my opinion, recent years have brought us some very good and memorable Prog Rock music!
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
PROG ARCHIVES
Your ultimate Prog Rock resource…!
My knowledge of progressive music has greatly increased in recent years, thanks to good friends like Bruno Aun, a
designer who introduced me to the Internet, and my very dear friend, M@X (Prog Archives Administrator and
WebMaster). The "archives" were inspired (and continue to be driven) by M@X’s and my desire to promote our passion
for this music via our own Web site. Today, PROG ARCHIVES brings me a lot of info, new "net" friends, and pleasure,
as I continue to discover many great prog artists from every corner of the earth, and thus learn more and more about the
music I love so.
PROG ARCHIVES is the result of some friends’ passion for progressive rock, a kind of music that (in case you didn’t
know) crosses and combines many musical genres (jazz, classical, folk), resulting in a unique, original and often
challenging style. Our "project" is open to everyone who wants to add his or her own contribution. Anyone who loves
prog can review here, exchange opinions, and find other prog lovers with whom to share their thoughts and passion for
this excellent music. In fact, the site’s pages have the express purpose of letting you enter step-by-step into the fantastic
"prog world."
Here at PROG ARCHIVES, we are proud to serve fans of progressive music with any information we can: bands,
biographies, discographies, song titles and duration, pictures of album covers, helpful reviews and samples* from some
of the finest artists of the prog scene, from the time-honoured past to the exciting present. Progressive music is full of
vibrant and pleasant memories and associations for fans like me, as we find ever more cross-connections within its
(still expanding) scope. Thanks to the Internet, the progressive movement is experiencing a revival of interest from a
dedicated, sophisticated and growing audience.
For people wanting a more in-depth list, I’ve included a link to the excellent Prog Archives (English version) below. A
warning, though: the site could take a lifetime to read, so don’t plan on having a social life…!
My love to you all,
Keep on proggin!
http://www.progarchives.com
*NOTE: These are not complete albums. If you like what you hear from the samples, please buy the full-length releases.
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FORTY YEARS OF HISTORY
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Dear Friends of Progressive Rock:
What if a trustworthy companion offered to take you on a journey and guide you through the exciting discovery of albums you’d
only dreamt of?
That’s exactly what the Essential Mini-Guide to PROGRESSIVE ROCK will do!
Intended for Progressive Rock aficionados and Classic Rock lovers alike, the Mini-Guide covers the history and development of
the worldwide Progressive Rock movement from its origins to the present, with tools to help you dig into its history even further.
And here is a first: it clearly defines "WHAT PROGRESSIVE ROCK IS?"
Through four chapters, each covering one "wave" of the Progressive Rock movement, you will re-live:
• the end of the Sixties (PROTO-HISTORY),
• the Seventies (the GOLDEN AGE),
• the Eighties (the SILVER AGE and birth of NEO PROGressive rock),
• and the Nineties until today (the rebirth and new PROGressive METAL).
Selected from the most famous to the highly obscure, each band comes with a biography and some with a recommendation of their
best albums. You will also find an in-depth review of the 20 best Prog albums of all time (released between 1967 and 1979).
Finally, the Mini-Guide includes an analysis of the artwork of the most beautiful “album covers.”
Yet despite years of enjoyment, dedication and intensive research, not only are there still gaps in my knowledge, but I suspect that
there are many hidden Prog treasures still waiting to be unearthed. And although this is the second edition, no doubt you will
also find incorrect statements, errors and/or facts that need to be straightened out. Therefore, I will be most grateful for any
information, comments or suggestions for improvement that will bring me closer to my goal - that of making this handbook the
most comprehensive and truly "Essential Mini-Guide to PROGRESSIVE ROCK."
ENJOY YOUR READING and HAPPY DISCOVERIES!
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FORTY YEARS OF HISTORY
8
TABLE OF CONTENTS
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FORTY YEARS OF HISTORY
INDEX A - The definition
WHAT IS PROG ROCK? stylisation based on jazzy theory, classical elements, world or
“Progressive rock - also known as “prog rock,” “classical even avant-garde music. The lyrics, where they exist, are often
rock” or “art rock” - is a unique form of rock music, poetic, conceptual (a musical "journey" with intricate melodies
occurring at the intersection between rock, jazz and and harmony) or based in fantasy.
classical music.” With regard to musical structure, “prog” usually offers
The problem of the "right terminology" is back - “progressive complex arrangements - often including long, beautiful instru-
music” or “progressive rock” (or “prog,” for close friends) - mental sections - and virtuoso musicianship, combining tech-
with you to choose ! The etymology of those terms has become nical mastery and emotional solos. An early example is the 23-
almost “evil,” creating such a “headache” that it is difficult minute “Echoes” by PINK FLOYD. Other famous examples
even to consider, much less catalogue this diverting genre of include YES’ “Close To The Edge” (18 minutes) and GENE-
music. But is the “essence” of something not specific to each SIS’ “Supper’s Ready” (23 minutes). When not forced into
one of us? After all, what good is it to disparage an album if using “mainstream” structures, artists have freer reign to inte-
one has not listened to it? With “progressive rock,” one often grate their individual and collective cultures and influences -
truly enjoys an album after having listened to it several times. classical, jazz, traditional - into the “energy” of their music.
Our tympanums are our interpreters, but the “spirit” is our only “My ears are lucky to hear
judge. These glorious songs
It would take a very astute mind to define prog clearly. Many Of inspiration
such minds have tried, with varying degrees of success, but And voices crafted from
ultimately each person has his/her own definition. Given Thunder
human nature, there is nothing surprising about that, and yet The power of life.”
even I have not yet offered a definition to anyone… yet. Now - Happy Rhodes, “Feed The Fire” (Warpaint version)
I do so, with, inevitably, an ounce (or maybe more…) of The progressive rock movement began in Britain in the late
partiality : 1960s and early 1970s branching off from the fields of psy-
I would like to dispense with the myth that “Progressive Rock” chedelic and underground rock. It is through these various
emerged in the United Kingdom like a phoenix from the ashes. tendencies that many sub-genres later will be established :
Indeed, the majority of bands who were newly formed at the Canterbury, symphonic (probably the most famous names in
end of the 60s and beginning of the 70s were very much prog), space rock, folk prog, Krautrock, Zeuhl, neo-prog, prog
inspired by the examples of British and American acts such as metal, post-rock, experimental etc… and it is today one of the
CREAM, HENDRIX, VANILLA FUDGE, FRANK ZAPPA, most interesting and widely overlooked musical phenomena of
KING CRIMSON and PINK FLOYD, to name but a few. Also, the 20th Century.
there were other bands who were looking for totally new forms However, without being completely exhaustive, the various
and methods of playing together, such as HARMONIUM and tendencies (or forms of progressive rock music) are :
RUSH (Canada), ANGE, ATOLL and MAGMA (France),
AMON DUUL, CAN, ELOY and TANGERINE DREAM Experimental (SOFT MACHINE, KING CRIMSON), psyche-
(Germany), BANCO DEL MUTUO SOCCORSO and PFM delic (PINK FLOYD), theatrical (GENESIS), traditional
(Italy), TRIANA and GOTIC (Spain), KANSAS (USA), and (EMERSON, LAKE & PALMER), symphonic (YES,
GONG (muti-national), to name but a few. CAMEL, GENTLE GIANT), and art rock/“pomp prog” in the
Seventies (SUPERTRAMP). There are also the Canterbury
By pushing the research a little further, one realizes that, in School (CARAVAN, GONG), jazz-fusion (BRAND X,
general, most definitions of “progressive rock” share in FRANK ZAPPA), Italian Progressive Rock (BANCO DEL
common such terms as “EVOLUTION,” “PROGRESSION,” MUTUO SOCCORSO, Le ORME, PFM), German
“INNOVATION” and “UNCOMMERCIAL." The main Progressive Current (ELOY - space rock; AMON DUUL II -
defining characteristics and tendencies are that the composi- Krautrock), progressive electronics (TANGERINE DREAM),
tions are more elaborate than the standard rock song structure Rock In Opposition, or RIO (HENRY COW), and Zeuhzl
of verse, chorus etc. Musicianship is often taken to the limit - (MAGMA). There are even Progressive Instrumental (MIKE
and indeed, many of innovative and open-minded bands in OLDFIELD), Folk Progressive (JETHRO TULL, RENAIS-
"prog rock" had their origins in the late 1960s art school of SANCE, The STRAWBS), Hard Progressive (RUSH),
Britain. Neo-Progressive (MARILLION, ARENA, PENDRAGON),
They were created to represent a philosophical approach to and Progressive Metal (DREAM THEATER, AYREON, PAIN
rock by experimenting with unusual musical instruments OF SALVATION).
including wind sections (flute, saxophone) and string sections Another fundamental characteristic of this “cerebral” genre, is
(violin, cellos, harpsichord, etc.), electronic experiments its universality (without any commercial or media support) :
(MOOG & ARP synthesizers, the Mellotron, HAMMOND B- vibrant "progressive rock" communities span the globe, in
3 organ) and full orchestras. The arrangements incorporate South America, Japan, Western Europe (Italy, Holland, Sweden
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
and where it all started, in the UK), Eastern Europe (Poland
and Hungary), the USA and in Quebec, Canada with concerts,
magazines and specialised distributors devoted to the cause of
quality music.
With the advent of the World Wide Web, it is safe to assert that
"Progressive Rock" is in full expansion, even though it will
probably never again dominate the charts, destined to
“progress” perpetually beyond the shallow silliness that has,
for so long, been polluting the airwaves.
"You call yourselves progressive
I say it's all regressive
You think you can stand in judgement
So listen here and I'll remind you :
Preaching the converted
’cause it's all you know
Music's dead because
It"s all about the money now…"
(Preaching the converted - "Test Of Willis" - MAGELLAN
1995)
All intelligent music lovers should be made aware of the
wonders of this style!
All the best...!
11
FORTY YEARS OF HISTORY
INDEX B - The development of progressive rock music...!
I. Late 60s and beginning of the 70s progressive rock. Along with JETHRO TULL,
I would say it all began with psychedelic music, i.e., essential- RENAISSANCE helped define another sub-genre: folk
ly Jimi HENDRIX and early PINK FLOYD (all their stuff with progressive. The popularity of RENAISSANCE grew after
Syd Barrett). Some people say that The BEATLES also Annie Haslam replaced Jane Relf on vocals, and the band
contributed to the prog movement. Then came bands such as released the great "Scheherazade And Other Stories" in 1975.
KING CRIMSON and YES at the end of the Sixties. KING JETHRO TULL released "Aqualung" in 1971, an album that is
CRIMSON, along with VAN DER GRAAF GENERATOR considered a classic today, though I would more highly
(VDGG), helped define a sub-genre of progressive music recommend the follow-up, "Thick As A Brick," as an introduc-
called "hard prog" ("hard" referring to the tormented tion to their contribution to the folk prog scene.
atmosphere of the combined music and lyrics. However, "In Another sub-genre of progressive rock was also developing in
The Court Of The Crimson King" is symphonic prog. YES the Seventies - art rock - led by such bands as SUPERTRAMP,
were playing symphonic prog, so called because of the use of and ROXY MUSIC. These groups were playing a "simpler"
a symphonic rock music. GENESIS were already recording at music than other progressive sub-genres. In Germany, TAN-
the end of the Sixties, but their link to progressive rock was not GERINE DREAM was playing a music based exclusively on
yet defined. With the album "Trespass," things became clearer electronic instruments, hence their music falls under the
about GENESIS. YES and GENESIS remain icons in "Electronic" (or "New Age") sub-genre, although that subgenre
symphonic rock music. Other bands followed their steps later: may include many non-electronic instruments (‘’New Age’’)
e.g., GENTLE GIANT and CAMEL, among others. At the as is the case with Mike OLDFIELD. VANGELIS and
same time as symphonic rock was developing in Great Britain, SYNERGY also belong to this sub-genre.
many Italian bands were writing and performing a similar type
of music: e.g., BANCO DEL MUTUO SOCCORSO (BDMS), Many of the German bands that appeared at the beginning of
PREMIATA FORNERIA MARCONI (PFM), Le ORME, the Seventies were classified as "Krautrock," an additional
and QUELLA VECCHIA LOCANDA (QVL), among others. sub-genre of progressive rock, which includes GROB-
These two countries were the most prolific as far as SCHNITT, AMON DÜÜL, and ASH RA TEMPEL. A mini-
progressive rock is concerned. malist form of "electronic" music also appeared in the
Seventies: ambient. Artists such as KRAFTWERK, Brian ENO
Let’s go back to Great Britain to focus on another sub-genre and CLUSTER belong to this category. Moreover, in England,
that comes from the Canterbury country. CARAVAN defined a new sub-genre based on improvisation, with a jazz back-
that sub-genre with their second album, and bands like ground, appeared in 1973 with the release of HENRY COW’s
HATFIELD AND THE NORTH, and later NATIONAL "Leg End." This sub-genre was labeled "Rock In Opposition,"
HEALTH, followed (plus a band that didn’t come from or RIO
England, but from the USA: HAPPY THE MAN). The first
GONG album ("Camembert Electrique," featuring drummer Not to be forgotten is EMERSON, LAKE & PALMER (ELP),
Pip Pyle, who later joined HATFIELD AND THE NORTH and a band that gathered members from KING CRIMSON,
NATIONAL HEALTH) also belongs to this sub-genre. Daevid ATOMIC ROOSTER and The NICE, whose albums ("Brain
Allen (who later founded GONG), along with Robert Wyatt, Salad Surgery" often being regarded as their best) belong to a
formed SOFT MACHINE, a band that could be regarded as sub-genre called "classical prog," as they often feature songs
belonging to the Canterbury scene for their first three releases, that are adaptations of both well-known and obscure classical
but which, with their next release ("Third"), turned to jazz- compositions ("Pictures At An Exhibition," for example). The
fusion, another sub-genre that later included drummer Bill NICE and Rick WAKEMAN also belong to this sub-genre. In
Bruford (who played with KING CRIMSON and YES) and North America, some groups mixed hard rock with progressive
BRAND X (featuring drummer Phil Collins from GENESIS) elements, creating a sub-genre called "pomp prog," as the
and, in the USA, Frank ZAPPA. intros and outros of some of their songs are "pompous." RUSH
and STYX are among the bands in this sub-genre (KANSAS
So, by the beginning of the Seventies, three sub-genres of could also be added to this category, though they are also close
progressive rock were already established: symphonic (YES, to the English symphonic prog scene).
GENESIS), Canterbury (CARAVAN, early GONG), and hard
prog (KING CRIMSON, VDGG). I mentioned previously the development of a jazz-fusion scene,
with BRAND X (featuring Phil COLLINS), Bill BRUFORD
II. The 70s and Frank ZAPPA (ZAPPA’s music could be considered as a
After Syd Barrett left PINK FLOYD, their music became unique sub-genre, mixing jazz, doo-wop, rock, classical, etc.).
softer, with ethereal passages, thus defining a new sub-genre: Another band also strongly rooted in jazz, but including
space rock. GONG were also following this path (but with influences ranging from Karlheinz Stockhausen to Duke
humour) with "Angel Egg," their best release to date. After the Ellington, via opera, is MAGMA, who created the Zeuhl sub-
YARDBIRDS split, Keith Relf and his wife, Jane, formed the genre, with a language intelligible only by them ("Kobaïa").
band RENAISSANCE, a group that blended folk music with
So, at the end of the Seventies, we now have 10 sub-genres in
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
progressive rock: art rock, folk progressive, classical progres-
sive (or symphonic rock), RIO, jazz-fusion, Zeuhl, ambient,
electronic, Krautrock, and pomp progressive.
III. The 80s
At the end of the Seventies, progressive rock was "supplanted"
by the "punk" movement, a "music" which aimed to prove,
among other things, that anyone could play music. "Punk"
gave rise to the "cold wave" in the Eighties, and prog rock was
reduced to what was called "neo-progressive" (a simpler form
of symphonic prog, but with more "present" drums), and an
embryo of what became, at the beginning of the Nineties,
progressive metal. SAGA were probably the first to play
neo-progressive rock, but MARILLION, IQ and PENDRAG-
ON are the best representatives of this sub-genre. Landmark
albums include "Misplaced Childhood" (MARILLION),
"Masquerade Overture" (PENDRAGON) and "Ever" (IQ).
IV. The 90s
The newest sub-genre of progressive rock - progressive metal
- became fully developed with DREAM THEATER’s "Images
and Words." However, some groups in the Eighties were
already playing a heavy metal-based progressive music,
including QUEENSRYCHE, FATES WARNING and
WATCHTOWER. (Recognition is due to Mike Varney, who
founded the prog label "Magna Carta" in the USA and the
"Inside Out" label in Europe.)
Also in the 90s, SPOCK’S BEARD was playing a form of
symphonic prog with references to GENTLE GIANT and
GENESIS. ECHOLYN and IZZ were playing a music closer to
neo-prog. In Northern Europe, a Scandinavian symphonic prog
scene developed, with bands such as The FLOWER KINGS,
ANGLAGARD and SINKADUS. A post-RIO scene also
developed with DJAM KARET and THINKING PLAGUE,
among others. There were also new groups playing jazz-fusion,
including KENSO, CARTOON and DEUS EX MACHINA.
Also at this time, PORCUPINE TREE and OZRIC
TENTACLES were playing space rock, and COLLAGE and
CLEPSYDRA were playing neo-prog that was strongly
influenced by IQ and MARILLION.
Thus, in the Nineties, you have a revival of the prog scene not
only with the appearance of a new sub-genre - progressive
metal - but also with bands playing the styles developed in the
Seventies.
Written by Lucas Biela, France
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FORTY YEARS OF HISTORY
INDEX C - The face of progressive rock music
"Enter the landscape of your mind, a world so strange Steven Wilson (PORCUPINE TREE) to OPETH. As you see,
and unknown that it seems untouched." ‘’In The Court Of The Crimson King’’ is there in the Olympia
where all THE most important progressive albums stay,
When KING CRIMSON's debut ‘’In The Court Of The
historically and musically. More than essential..!
Crimson King’’ was released in 1969, it was a fundamental
"wind of change" for the whole face of rock music history. It The instrumental architecture and marvellous baroque
marked the beginning of a mysterious new musical genre lyrics were a culmination of a concerted effort by the band
henceforth called ‘’progressive rock" or "art rock’’. The entire members :
album featured a strong structure offering various stylistic ten-
o the complex drumlines of Michael Giles (of GILES, GILES
dencies… psychedelic with classical symphonic arrangements
and FRIPP fame);
& an avant-garde approach, free-jazz sensibility, DONOVAN-
ish folk rock with medieval atmospheres, and a cacophony of o the melodic bass playing and the crystal voice of Greg Lake
apocalyptic heavy metal. Lyrically, the album is deep, with (future ELP frontman);
psychedelic sci-fi lyrics rivalled at the time only by Syd Barrett o the ferocious guitar playing of Robert Fripp (arguably the
(PINK FLOYD). This really didn’t exist on many records; it leader of the Progressive Rock movement);
was something that most people had ever heard before. o the assorted quasi-classical woodwind and brass (flutes &
saxophone) and screaming keyboards of Ian McDonald (co-
founder of FOREIGNER & multi-instrumentalist);
o plus Pete Sinfield’s Tolkien inspired lyrics.
KING CRIMSON
"In The Court Of The Crimson King"
October 1969
If these are the elements that began the history of progressive Track Listing:
rock, then October 10, 1969 is the date that marks the true Side 1
beginning of the progressive rock movement, as KING 1. 1st Century Schizoid Man (7:20)
CRIMSON's "In The Court..." smashed to pieces virtually 2. I Talk to the Wind (6:05)
every standard and norm of rock, in as MONSTROUS a 3. Epitaph (8:47)
fashion as the hallucinogenic face on its cover (which was
painted by 23-year-old English artist Barry Godber in 1969; Side 2
Godber died of a heat attack the following year). This face, in 1. Moonchild (12:11)
many facets, describes the innovation, sound and intensity of 2. The Court of the Crimson King (9:22)
this album. Line Up:
This laid the blueprint for all progressive rock bands to follow. • Robert Fripp / guitar
After all, at this point, most Progressive bands weren’t really • Ian McDonald / reeds, woodwinds, vibes, keyboards,
progressive at all yet; The MOODY BLUES were still playing mellotron, vocals
edgy British pop; PINK FLOYD were leading the way in space • Greg Lake / bass guitar, lead vocals
progressive rock & very cosmic music; JETHRO TULL were • Michael Giles / drums, percussion, vocals
still performing their own brand of mutant blues; GENESIS • Peter Sinfield / words and illumination
were still in their British-pop phase and essentially a bunch of In short, you can hear a five extended tracks (the shortest being
four schoolboys learning their trade; and YES was still search- about six minutes and the longest about twelve) by four young
ing for their direction. British musicians. This is an absolute monster (with the
This album planted the roots in the genesis of progressive rock EXTREMELY HIDEOUS face plastered across the back
for other major names like PINK FLOYD, YES, GENESIS, cover) of A PIECE OF ART!
JETHRO TULL, GENTLE GIANT, VAN DER GRAAF
GENERATOR and EMERSON LAKE PALMER. The
influence of KING CRIMSON has been cited by a plethora of
artists ranging from MARILLION to ANGLAGARD and
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
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15
FORTY YEARS OF HISTORY
INDEX D - The History (1967 to the Present)
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
1- PROTO-HISTORY - 1960s
albums. It is devoid of filler, unlike other ambitious works like known as “Space Rock.”
"Sgt. Peppers…," "Tommy" and "The Wall."
CREAM
THE BEATLES "Disraeli Gears"
"Revolver" November 1967
August 1966 Despite being comprised of three
Arguably the first psychedelic of the best musicians of the
rock album, "Revolver" was 1960’s, CREAM presented the
praised for its musical experimen- basis of their vision in psychedelic
tation but how embarrassing : a rock : a unique fusion of Clapton’s
bunch of pleasant and varied blues styles and Bruce and
songs, an impressive orchestra Baker’s jazz influences. In fact, their music had basically three
backing them up with violins and cellos, alternating between layers : a pop melody, lengthy solos inspired by free jazz, and
pop and rock with some progressive elements (adding classical a propulsive Rhythm & Blues beat. For many, this was the
instrumentations, folk instruments like tablas and sitar), and birth of what would later be called "heavy metal." The album
using a sophisticated studio sounds. The acid and breathtaking comes in the best psychedelic cover of the 20th Century… and
closer "Tomorrow Never Knows" is easily the most creative Clapton will go on to be hailed as a "god"!
and experimental song The BEATLES had produced up to that At the same time, other musicians from the US West Coast like
point, and it really shows the progressive tendencies of the FRANK ZAPPA AND THE MOTHERS OF INVENTION
band. In short, "Revolver" brings out more progressive-style ("Freak Out!" - an early, complex, even disturbing project)
techniques, and rocket launches music into the next generation incorporated jazz influences with psychedelic rock. These were
paving the way for KING CRIMSON, PINK FLOYD, The popularized by the JEFFERSON AIRPLANE's "Surrealistic
MOODY BLUES and others. Pillow," which is regarded as one of the key of recordings of
THE BEATLES the so-called "Summer Of Love." In Britain, the folk psyche-
delic sibling of The WILDE FLOWERS led to the birth of two
"Sergeant Pepper’s Lonely
progressive (Canterbury Scene) bands, SOFT MACHINE by
Hearts Club Band"
Robert Wyatt and CARAVAN.
April 1967
The real ground-breaking, FRANK ZAPPA & THE
however, took place in April 1967, MOTHERS OF INVENTION
when The BEATLES released "Freak Out!"
“Sergeant Pepper’s Lonely Hearts August 1966
Club Band” - a blend of early rock With parodies of pop music,
ballads and styles of music never heard before - to an unsus- avant-garde dissonance, unpre-
pecting and enraptured public. These young musicians chose to dictable arrangements and
amalgamate various combinations of rock, psychedelic, outspoken political commentary,
classic, folk, electronics, contemporary, and medieval with FRANK ZAPPA AND THE
other forms resulting from the use of new techniques with both MOTHERS OF INVENTION’s debut album "Freak Out!"
instruments and recording. This, the most famous rock album explored all the conventions of popular music. It’s a brilliant
of all time along with its predecessor (“Revolver”), was the and wickedly charming album, not to mention one of the
inspiration for legions of other artists all over the world. earliest double collection of songs in the history of rock music.
PINK FLOYD JEFFERSON AIRPLANE
"The Piper At The Gates Of "Surrealistic Pillow"
Dawn" February 1967
August 1967 Emerging from the US WEST
Psychedelic rock at its best, PINK COAST in the mid-1960s, JEF-
FLOYD’s “Piper At The Gates Of FERSON AIRPLANE were the
Dawn” represents the finest that ‘’flagship’’ act for the burgeoning
British psychedelic music has to psychedelic music scene, offering
offer: simple, but weird and up a mix of psychedelic and prog-
catchy, short psychedelic songs and some long early “progres- related songs. "Surrealistic Pillow" broke new ground with hits
sive” hymns blended by the genius of Syd Barrett and the other like "White Rabbit" and "Somebody To Love", as they
then-members of PINK FLOYD (Roger Waters, Nick Mason ventured into the world of the acid-rock movement that
and Rick Wright). The outsized instrumental “Interstellar blended jazz, blues and folk, all the while maintaining that pop
Overdrive” is the first true example of what will later become
17
FORTY YEARS OF HISTORY
1- PROTO-HISTORY - 1960s
credibility. AIRPLANE would go on to play at the now famous PROCOL HARUM (“A Whiter Shade Of Pale” - literally
Monterey Pop Festival, and would become the leaders of the “Bach and Rock”). KING CRIMSON’s “In The Court Of The
San Francisco rock sound of that era. The whole world would Crimson King” (1969) is the first fully-developed example of
wait impatiently for the "next trip" which would turn out to be this new genre, and the album that defines the true starting
an experimental album with long suites called "After Bathing point for Symphonic Prog.
at Baxter's". "Surrealistic Pillow" is a legendary album from a
Other late 60s albums such as PROCOL HARUM's "Procol
legendary band.
Harum" & The MOODY BLUES' "Days Of Future Passed"
THE WILDE FLOWERS excelled in unconventional song structures and overarching
"Tales Of Canterbury: The thematic concepts which came to characterize the era of 1966-
Wilde Flowers Story" 75. These bands incorporated classical (a style of prog called
(1965-1969) "symphonic") elements in their music through the use of
The roots of the "Canterbury classical instruments (flutes, violins, cellos, harpsichord, etc.)
Scene" (one of the most signifi- plus the rise of the Mellotron and Moog synthesizers. Soon
cant movements in the history of some notable practioners (primarily between 68 and 69) began
rock music) find their origin in taking suit and bands like KING CRIMSON, GENESIS, VAN
this group which had a fluctuating DER GRAAF GENERATOR (VDGG for short) and YES
line-up. This CD, released in 1994, compiles 22 demo tracks found overwhelming popularity in the 1970s. KING
recorded between 1965 and 1969: the majority are "incom- CRIMSON's "In The Court Of The Crimson King" from 1969
plete" but they contain the seeds of the new ideas which will is generally considered the starting point for the "progressive
flower later at SOFT MACHINE and CARAVAN, and their movement."
subsequent groups or careers (GONG, MATCHING MOLE, PROCOL HARUM
Kevin Ayers, Robert Wyatt...).
"Procol Harum"
THE SOFT MACHINE September 1967
"Volume One" PROCOL HARUM developed a
December 1968 fresh new sound with some of the
Since its creation in 1966, SOFT best keyboards (piano for Brooker
MACHINE was the central and Hammond organ for Fisher)
foundation of the Canterbury and a guitarist extraordinaire in
Scene of British progressive acts, Robin Trower. They are rightly
a movement that also included revered as one of the precursors of Progressive Rock (along-
CARAVAN, GONG, MATCHING side The MOODY BLUES and The NICE) because their music
MOLE, etc. The original formation included Mike Ratledge had less British psychedelia and had more in common with
(keyboards), Kevin Ayers (guitar) and Robert Wyatt (drums, what would be Progressive Rock. As for the music, the style of
vocals). The first SOFT MACHINE album is a perfect collage the album is typical of the imaginative music being produced
of blues, jazzrock and avant-garde music mixed with British in 1967… a fusion of blues/jazz, rock with touches of folk,
humour, but also an excellent slice of psychedelic rock in the classical influences (BACH melodies in the classic "Whiter
vein of Syd-era PINK FLOYD. All this would become the Shade Of Pale"), and unforgettably surreal lyrics. A great
trademark of many Canterbury bands. START, but there was more to come...!
B) Proto-Prog - Part II THE MOODY BLUES
Progressive rock is generally accepted as having appeared in "Days Of Future Passed"
the United Kingdom around the second half of 1967. It was November 1967
manifested in post-psychedelic bands that evolved into a new Psychedelic rock is combined with
hybrid genre, born of the mixing of rock music with classical the orchestral arrangements of the
and neo-classical elements by composers such as Bach, London Festival Orchestra
Mozart, Copland, Bartok and Stravinsky - in other words, an (conducted by Peter Knight) to
early form of symphonic/rock hybrid. A sizeable number of sound like the band’s own
"concept albums" relied on instrumentation that wasn't orchestra, using the band’s
common to the rock of its day: symphony orchestras or signature Mellotron string sounds, flutes, timpani and multiple
synthesizers. Hammond organs, Mellotrons, and Moog were vocals. "Days Of Future Passed," an ambitious and unique
especially prominent in many of these albums. conceptual album, is a classical symphonic pop album (or
The main exponents of this were The NICE (featuring Keith proto-prog release) of the 60s that, on its own, created a road
Emerson on keyboards), The MOODY BLUES (“Days Of towards the symphonic rock movement. The concept of the
Future Passed”), and the Baroque-inspired classicism of album is a reasonably clever one, tracing "a day in the life,"
18
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
1- PROTO-HISTORY - 1960s
from dawn ("Dawn Is A Feeling") to night (the classic "Nights in the various groups such as HENRY COW, MATCHING
In White Satin"). "Days…" is essential listening for anyone MOLE, GONG, CAMEL, HATFIELD AND THE NORTH,
interested in the Mellotron’s history, and is a good document of not to mention the distinguished solo careers of Robert Wyatt
its era to boot. and Kevin Ayers. The varied styles of the artists included rather
hippy space rock (GONG), Rock In Opposition (RIO) HENRY
THE NICE
COW, improvisational jazzy MATCHING MOLE, melodic
’’Ars Longa Vita Brevis’’
progressive CAMEL, and of course, the incomparable
February 1968
diamonds : HATFIELD & THE NORTH and NATIONAL
The NICE is the first offensive of HEALTH.
scale of the piano/organ virtuoso
Keith Emerson. He successfully CARAVAN
realizes virtually from the outset, a "Caravan"
fusion between rock and classical October 1968
music. With this second release of CARAVAN were not the first to
a trio (comment, While "5 bridges" was recorded live, it arrive on the Canterbury Scene;
contained largely new material, ans was I would suggest Richard Coughlan (drums), David
as significant as the other 3), Keith Emerson presents the basis Sinclair (keyboards) and Pye
of his vision of progressive rock: an amalgam of rock and Hastings (guitar/vocals) had all
traditional music which is certainly pretentious, but which come from the pioneering
lacks neither ambition nor quality. This is one album to "Canterbury" outfit WILDE FLOWERS. The self-titled debut
discover if you like EMERSON, LAKE & PALMER. album finds all involved in fundamental form, producing an
GILES, GILES & FRIPP engaging, subtle mixture of poppy, mildly jazzy and
psychedelic songs. This early offering from the "Canterbury"
"The Cheerful Insanity Of
school was among the first to impart direction to the
Giles, Giles & Fripp"
newly-emergent progressive music.
September 1968
Two years before the famous ‘’In THE SOFT MACHINE
The Court Of The Crimson "Volume Two"
King,’’ Robert Fripp (guitar/ April 1969
vocals), Peter Giles (bass/vocals), Originally released in 1969
and Michael Giles (drums/vocals) following the departure of Kevin
had recorded an insane disc on which one finds anything and Ayers, "Volume Two" was the first
everything, but also some of the first steps to what would later SOFT MACHINE album to feature
become KING CRIMSON. By any standards, ‘’The Cheerful the classic trio line-up of Mike
Insanity…’’ is one of the more eclectic albums in the repertoire Ratledge on organ, Hugh Hopper
of timeless rock… drawing upon folk, classical, psychedelic on bass, and Robert Wyatt on drums and vocals as the driving
pop, and jazz tinged music. Each track brings a fresh listening creative force. This album was the perfect bridge between the
experience. Recommended, especially for the curious! psychedelic pop music of the first album, and the jazz fusion
From 1963 to 1969, a different strain of progressive rock jams of the third. English humour, dissonance, avant-garde, jazz,
emanating from the rise of psychedelia in Britain was the and the amazing Robert Wyatt as well! This is a melting pot of
Canterbury music scene, named after the town in Kent musical forms, wrestling order from chaos - in short, a visionary
(England). The prototypical Canterbury band wandered record that inspired a generation.
through The WILDE FLOWERS from whom emerged 1968 saw the end of the hugely successful trio CREAM, who
half-dozen of the most freewheeling British bands of the early had given JETHRO TULL the template for their early work prior
psychedelic period through to the post-psychedelic eras. The to their progressive period that started in the early 1970’s.
band served as the wellspring of the so-called Canterbury TULL’S first album, “This Was” (1968) was not just a reference
sound developed by bands such as the future jazz-rock SOFT to where the band was, but probably the focal point of the
MACHINE (Robert Wyatt, Kevin Ayers) and jazz folk rock period. The music found on this album is very reminiscent of
CARAVAN (Pye Hastings, David & Richard Sinclair, Richard type that could be found on hundreds of the standards of the
Coughlan). British 60’s blues revival movement and R&B albums of the late
Their debut albums fell somewhere in-between psychedelic sixties. After personal and musical differences, Mick Abrahams
elements and jazz influences (such as John Coltrane and Miles left to form the briefly successful ‘BLODWYN PIG”. The
Davis) instead of classical music, as was the case with remaining TULL boys embarked, with permanent guitarist
Symphonic Prog. Another well-known aspect of the Martin Barre, on the recording of the landmark album ‘Stand
Canterbury Scene was the circular nature of personnel changes Up” (1969) that defined the blending of progressive sounds and
19
FORTY YEARS OF HISTORY
1- PROTO-HISTORY - 1960s
folk elements.
JETHRO TULL
"This Was"
October 1968
On ‘’This Was’’, the band were
just beginning to develop their
style. The interpretations of blues
by guitarist Mick Abrahams and
an interest in jazz, blues, classical
folk and ethnic music forms (lead
by vocalist & flautist Ian Anderson) here were brave and often
challenging. Ian Anderson’s unique voice and his omnipresent
flute give a very original color to this group who took a
significant place between rock, folk and progressive music.
Unlike more melodic bands, VAN DER GRAAF
GENERATOR’s debut, “Aerosol Grey Machine” (originally a
Peter HAMMILL solo project), brought a new and fresh stream
which was much more complex than the other bands of the
period. This album represents a fresh new sound, tormented by
its own demons (VDGG’s roots are “hard prog”), which seems
to be something of a leftover from the Psychedelic years rather
than the normal evolution that might have been expected.
VAN DER GRAAF
GENERATOR
"The Aerosol Grey Machine"
September 1969
The dark and very emotional voice
of Peter HAMMILL, his stories,
“mystical sciences,” and the very
personal music of the group
constitute an alloy with an
important place in the history of progressive music. This
album, far below the standards of the next albums, was to
become the most elusive of all of VDGG’s releases.
Around this time, other groups were starting to build unique,
sophisticated and inventive “sounds,” including EMERSON
LAKE & PALMER, GENESIS, JETHRO TULL, KING
CRIMSON, PINK FLOYD and YES. They became the “kings”
of this musical realm in both composition and performance by
pioneering a style of popular music developed in the late 1960s
and early 1970s, primarily by British rock musicians. Forty
years later, innumerable “progressive” groups would name
these bands when laying claim to the “heritage” of progressive
rock.
At this point, the "foundations" of Progressive
Rock are solid.
The curtain can then fall on the Sixties.
Indeed, one has already entered the Seventies.
20
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
2- FIRST WAVE - 1970s
THE GOLDEN AGE : The Pioneers (1969-1979) their experimentation through an increase in such elements as
musical virtuosity, extended song lengths (sometimes taking
Whereas The BEATLES were of “working class hero” status, up an entire two-album set), complex compositions, and
several progressive rock musicians came from the lower imaginative/sophisticated lyrical concepts which were
middle and middle classes. They often had training in classical sometimes difficult to comprehend. The experimentation
music, and attended colleges or universities. They were ready which was central to progressive music in the 1970s was being
to make rock their own way. Towards the end of the Sixties, applied to virtually every aspect of the music: rhythmic,
British groups wanted to “exceed” the musical format imposed melodic, harmonic, lyrical, instrumental.
on them by the industry. They wanted to do something
different - something that required more than short 3-minute Some of the characteristics of the major bands were:
songs with verses and choruses. Some turned to psychedelic EMERSON, LAKE & PALMER - classically diverse and
rock, others to the example of The BEATLES, still others gave futuristic; GENESIS - pastoral, humorous and whimsical;
birth to “metal” rock (BLACK SABBATH). They chose to GENTLE GIANT - aseptic, socio-political, exuberant
amalgamate various combinations of rock, classical, folk, experimentation; JETHRO TULL - contentious, productive,
electronics, contemporary, medieval, and other forms. They sophisticated structures and styles; KING CRIMSON - unique,
chose to give up the couplet/refrain structure for the greater different, ground-breaking, innovative and original sonic
freedom of more complex structures. These young musicians sculptors; PINK FLOYD - symphonic, melodic and socialist
wanted to profit - musically - from new techniques, with both anthems; YES - pretentious, overblown, complex virtuosity
instruments and recording. and lyrically obscure. In considering all this, one begins to
realize that the true diversity and value of progressive rock
Jerry Lucky, author of “The Progressive Rock Files,” remains unsung.
enumerates some of the elements that mark “progressive
rock”: All of these “Big Seven” were completely different in style,
composition, format and execution. In this regard, the
“Longer songs, changes of tempo, Mellotron, use of “progressive” appellation does all of them a disservice, as it
symphony orchestra, words like ‘cosmic’ or ‘philosophi- groups them together under one umbrella, thus diluting the
cal,’ etc.” readers’ attention. In essence, each of them are worthy of a
If these are the elements that began the history of progressive genre of their own.
rock, then October 10, 1969 is the date that marks the true Other bands - who, while never becoming as well known, are
beginning of the progressive rock movement, as KING still fine examples of the genre - include BANCO DEL
CRIMSON’s “In The Court Of The Crimson King” smashed to MUTUO SOCCORSO (BDMS), CAMEL, ELOY,
pieces virtually every standard and norm of rock, in as HAWKWIND, Le ORME, PREMIATA FORNERIA
“monstrous” a fashion as the hallucinogenic face on its cover MARCONI (PFM), RENAISSANCE, RUSH,
(which was painted by 23-year-old English artist Barry Godber SUPERTRAMP, The STRAWBS. All of these bands touch on
in 1969; Godber died of a heart attack the following year). elements of the “core” progressive bands, but also push
KING CRIMSON forward with their own styles.
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!]
“In The Court Of The Crimson King” The MOODY BLUES - England (1964)
- October 1969 - SYMPHONIC PROGRESSIVE ROCK
innovative and long-lasting groups to emerge during the 1960s. their career. They established many more fans after releasing
The MOODY BLUES created one of the first concept albums the album, and became literally exhausted for quite a while.
for an orchestral/psychedelic format, incorporating their union All together, they have sold over 140 million records
of melodic guitar, pioneering percussion, rolling bass, and the worldwide, perhaps earning them the title of being one of the
haunting Mellotron (which was new to rock at the time). They best classic rock bands of the latest century.
captured the imagination of music fans around the world with
BEST ALBUMS:
the landmark album, “Days Of Future Passed” - one of the
The Piper At The Gates Of Dawn (67), Meddle (71), Dark Side
earliest “classical rock” records, featuring the London Festival
Of The Moon (73), Wish You Were Here (75), Animals (77),
Orchestra as musical accompanists. To my mind, this album
The Wall (79)
works as well as The BEATLES’ “Sgt. Pepper” and early PINK
FLOYD offerings. JETHRO TULL - England (1968)
During the years 1967-1974, The MOODY BLUES recorded FOLK PROGRESSIVE ROCK
seven very successful albums, all of which went “gold,” Although JETHRO TULL (named after an 18th-century
including “On The Threshold Of A Dream” and “A Question farmer/inventor of the British Industrial Revolution) features
Of Balance.” During this period, their music was ambitious, an excellent group of musicians, its primary focus is on its
pastoral and philosophical, with songwriting contributions creator, singer, lyricist and flutist extraordinaire, Ian Anderson.
from all five members : Justin Hayward (guitar/vocals), John Indeed, Anderson’s flute playing is one of the most
Lodge (bass/vocals), Mike Pinder (keyboards/vocals), characteristic elements of the band. Their music is a mixture
Ray Thomas (flute/harmonica/vocals), Graham Edge of folk, medieval, blues, jazz, rock, traditional, and almost
(drums/percussion). Hibernation of a sort followed in the anything else.
mid-70s, as each member of the band released solo albums
(Hayward and Lodge having the most success with their effort, One of the reasons for JETHRO TULL’s enduring appeal is
The BLUE JAYS). their dedication to recording and performing that spans over
nearly four decades. Truly one of progressive rock’s
The band regrouped in the 80s and picked up where they left “dinosaurs,” they are also one of the most consistent groups of
off (commercially, anyway) with “Long Distance Voyager.” the folk prog era, with 60 million albums sold since their
Though the 90s found the band less a commercial force than a beginnings in 1968. In fact, they consistently released one
cult band, the group still tours and releases albums on occasion album every year between 1968 and 1980, with at least 6 of
(including 1999’s “Strange Time”). them confirmed prog classics. They have also played over
BEST ALBUMS: 2,500 concerts in 40 countries, and are still averaging 100
Days Of Future Passed (67), In Search Of The Lost Chord (68), shows per year.
On The Threshold Of A Dream (69), To Our Children’s Their best albums are “Aqualung,” “Thick As A Brick,” “A
Children’s Children (70) Passion Play,” “War Child,” “Minstrel In The Gallery,” “Songs
From The Wood” and “Heavy Horses.” All are considered
PINK FLOYD - England (1967) cornerstones of any prog collection, the latter being a serious
PSYCHEDELIC & SPACE ROCK candidate for the best progressive rock album of all time.
PINK FLOYD is not simply one of the progenitors of progres- BEST ALBUMS:
sive rock, but is probably the most popular group in the entire Stand Up (69), Benefit (70), Aqualung (71), Thick As A Brick
genre. The band’s name (chosen by original founder/lyricist (72), A Passion Play (73), Minstrel In The Gallery (75), Songs
Syd Barrett) refers to the first names of two bluesmen (PINK From The Wood (77), Heavy Horses (78)
Anderson and FLOYD Council), and the joining of the two
names is translated into English as “Pink Flamingo.” The band CARAVAN - England (1968)
originally formed in the mid-1960s during the “psychedelic” CANTERBURY STYLE
rock period, but then helped to develop what we now know as A throwback to the triumphal years of English progressive
“progressive rock” - and particularly “space rock” - through rock, CARAVAN grew out of the break-up of The WILDE
the use of sound textures, effects, and emerging recording FLOWERS, a Canterbury-based group formed in 1964 as an
studio tricks and techniques. R&B-based outfit with a jazzy edge. In the wake of the
Personally, I have always believed that PINK FLOYD is an earlier group’s dissolution, Pye Hastings (guitar/vocals),
overrated group. They have some good albums, but also some Richard Sinclair (bass/vocals), David Sinclair (keyboards), and
very average albums. For me, PINK FLOYD is not as good as Richard Coughlan (drums) formed CARAVAN in 1968.
GENESIS or JETHRO TULL, yet they are undoubtedly more Their music established the mix of humor and progressive
popular, better recognized, and more respected by the masses sounds (with warm and pleasant vocal parts; long instrumental
and critics. “Dark Side Of The Moon” is one of PINK flights; guitar, organ sounds, and piano work, etc.), taking its
FLOYD’s more famous albums, and was a big turning point in roots from classical music via jazz and traditional English
22
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
2- FIRST WAVE - 1970s
influences. CARAVAN is still active today, playing many live use of Mellotron. GENESIS was arguably one of the two or
dates in Britain and Holland. The year 2000 saw the beginning three most influential progressive rock groups, and that
of renewed activity for the band (festivals, concerts, etc.). In influence is likely to be felt for a long time.
2002, the band played its first performance in the United States
Singer-lyricist Peter Gabriel (who would go on to a
in 28 years, at NEARfest 2002.
considerably successful solo career) was the original theatrical
BEST ALBUMS: frontman. After his 1974 departure from GENESIS following
If I Could Do It All Over Again, I’d Do It All Over You (70), the release of their magnum opus - the double concept album
In The Land Of Grey And Pink (71), Waterloo Lily (72), For “The Lamb Lies Down On Broadway” - drummer Phil Collins
Girls Who Grow Plump In The Night (73) took the reins; shortly after this, the band’s progressive career
sadly went “pop” (pardon the pun).
KING CRIMSON - England (1969)
HARD PROGRESSIVE ROCK Their best works were produced while Peter Gabriel was with
the band, and for a year or two after he left. Here is a guide to
Founded by guitarist Robert Fripp, KING CRIMSON has the band’s work from three “periods”:
undergone many personnel changes over the course of its 35-
year span (with Fripp at the core), but has always remained Early Period: “Trespass” (1970) was the band’s second album.
innovative. Some of the notable musicians who played with the There are six songs here, all of which show glimpses of the
group at one time or another include keyboardist Ian power the band was to develop for fully later.
McDonald, drummer Bill Bruford, guitarist Adrian Belew, and Middle Period: “Nursery Cryme” (1971) shows the band
bassists Greg Lake, John Wetton and Tony Levin. Fripp also struggling with their new mix of talent, and has a couple of
entered into numerous collaborations on the side, including weak songs. “Foxtrot” (1972) shows a more confident and
with Brian Eno, Peter Gabriel and David Bowie, in addition to accomplished band. “Selling England By The Pound” (1973)
recording several solo albums. finds the band in a slightly mellower mood, with more acoustic
As noted, the “germs” of prog were present since at least 1966. work on piano and guitar than before. “The Lamb Lies Down
The BEATLES, PINK FLOYD, The MOODY BLUES and On Broadway” (1974) is arguably the band’s finest album. It is
PROCOL HARUM had “prepared the way” between 1967 and a 90-minute theater piece filled with a wide variety of music
1969. However, many people mark the beginning of progres- and moods.
sive rock in 1969 when a young English group called KING Late Period: The first two albums after Peter Gabriel’s
CRIMSON, together for only a few months, gave us “In The departure managed to preserve enough of the band’s progres-
Court Of The Crimson King.” sive qualities to make them interesting to older fans. “A Trick
Although there had been other trailblazers, “ITCOTKC” was Of The Tail” (1975) is a very strong album that still sounds
the first full-blown progressive rock album, and KING CRIM- good today. “Wind And Wuthering” (1976) is the last album
SON the first true progressive rock band. Led by the made by the “old” GENESIS.
technically gifted Mr. Fripp, KING CRIMSON married BEST ALBUMS:
blazing fiery guitar, deep lyrical concepts, and free jazz Trespass (70), Nursery Cryme (71), Foxtrot (72), Selling
improvisation and solos into a musical mix unlike anything England By The Pound (73), The Lamb Lies Down On
heard before. The music had a dark, majestic, sometimes Broadway (74), A Trick Of The Tail (75)
chaotic quality. “ITCOTKC” is not only a great album, but a
piece of musical history and a true monument of the genre. VAN DER GRAAF GENERATOR - England (1969)
HARD PROGRESSIVE ROCK
BEST ALBUMS:
In The Court Of The Crimson King (69), Lizard (70), Islands I am far from an expert on this group. However, it would be
(71), Larks’ Tongues In Aspic (73), Red (74) difficult to omit them if only for their album, “Pawn Hearts,”
which I know well. VDGG is not the best-known of groups,
GENESIS - England (1969) but “Pawn Hearts” is not only worth listening to, but also
SYMPHONIC PROGRESSIVE ROCK historically significant. Peter Hammill, singer and lyricist of
the group, has a unique voice, one which influenced several
Before changing itself into a “pop-rock” group in the early to prog vocalists. His lyrics plumb the depth of literature, while
mid-1980s, GENESIS was one of the most highly beloved, his music, epic in nature, benefited from the band’s original
even “worshipped” progressive bands. The group entered its arrangements. “Pawn Hearts” features piano, keyboards and
“golden age” in 1971, when drummer Phil Collins and guitarist saxophone, as well as guitar work from KING CRIMSON
Steve Hackett joined founders Peter Gabriel (vocals/lyrics), founder Robert Fripp. VDGG’s sound (already unique because
Tony Banks (keyboards) and Mike Rutherford (bass). The it was driven by saxophone and keyboards, guitar and drums)
music of the group became highly melodic and theatrical, cannot be easily related to the archetypes of folk, blues, rock or
propelled primarily by Peter Gabriel’s unique lyrics and jazz, despite the fact that it contains elements of all of these.
theatrics, and Tony Banks’ keyboards, particularly the heavy
23
FORTY YEARS OF HISTORY
2- FIRST WAVE - 1970s
BEST ALBUMS: Rick Wakeman joined the group for three years (1969-1971),
H To He, Who Am The Only One (70), Pawn Hearts (71), during which he contributed to three albums. The STRAWBS
Godbluff (75), Still Life (76) were also known as the first band to feature Mr. Wakeman’s
keyboard talents. The band can now be heard and seen on
YES - England (1969)
“Classic Rock Legends,” a DVD from the eponymous label.
SYMPHONIC PROGRESSIVE ROCK
Even without Mr. Wakeman, The STRAWBS were a
Along with GENESIS and PINK FLOYD, YES is considered significant contributor to the folk prog genre, along with other
one of the most influential progressive rock bands of all time. bands such as FAIRPORT CONVENTION, GRYPHON and
Along with those two plus KING CRIMSON, EMERSON, RENAISSANCE. The STRAWBS’ most interesting period
LAKE & PALMER and other popular bands that have helped began with “Grave New World” and ended with “Ghosts,”
shape today’s progressive music scene, YES have long been a their best album probably being “Bursting At The Seams.”
prog fan favorite, and stand out for their unique blend of styles.
BEST ALBUMS:
Their “golden age” started at approximately the same time as
From The Witchwood (71), Grave New World (72), Bursting
GENESIS’, in 1971, with the line-up of Jon Anderson
At The Seams (73), Hero And Heroine (74), Ghosts (75)
(vocals/lyrics), Chris Squire (bass/vocals), Peter Banks
(guitar/vocals), Tony Kaye (keyboards) and Bill Bruford Le ORME - Italy (1969)
(drums). However, it wasn’t until the replacement of Tony ITALIAN & SYMPHONIC PROGRESSIVE ROCK
Kaye with keyboardist extraordinaire Rick Wakeman a year
later that the band truly reached its peak. Italy produced several excellent progressive rock groups
during the 1970s, and then again in the 1990s. Le ORME is
Anderson, Squire, Howe and Bruford’s input alone were one of the oldest and best known. Created by bassist Aldo
enough to make the music the most harmonious prog rock of Tagiapietra, keyboardist Toni Pagliuca and drummer Mike Dei
the day. Anderson’s distinctive high-pitched vocals, Squire’s Rossi, the band harkens back to some of the Seventies groups
jazzy, rhythmic bass lines, Howe’s delicate guitar work, and built upon keyboard parts (e.g., RARE BIRD, The NICE,
Bruford’s highly progressive drum skills spoke of things that ATOMIC ROOSTER), as well as BANCO DEL MUTUO
sprung from the collective minds of dreamers, and was filled SOCCORSO, due to the Italian vocals. The group stayed
with joyful, expansive harmonies. By incorporating orchestral together during the 1970s, during which time they evolved into
works into their music to varying degrees over the years, YES an EMERSON, LAKE & PALMER-type progressive rock
redefined what Rock’n’Roll could be. Their fresh ideas and band, cutting four albums in that vein.
their ability to think beyond Rock’s 3-minute, standard 12-bar
structure turned much of the band’s catalogue into classic prog. Re-formed as a quartet (keyboards/sitar, bass, keyboards,
Their concept albums and lengthy live jams earned them a drums), and with a guest guitarist for the album “Il Fiume,” Le
huge fan following, as well as massive commercial success: ORME returned to what they did best: elaborate symphonic
between 1972 and 1977, they had five top-10 albums, with style with a classical touch, enhanced lyricism, and
“Close To The Edge” peaking highest at #3 in 1972*. At that development of complex, delicate themes with lots of breaks,
point in time, YES comprised perhaps the most versatile, including dreamy or nostalgic ambiences. The group still
virtuoso group of musicians in the history of progressive rock. records, and recently released “Elementi” (2001) and
“L’Infinito” (2004). Indeed, “Elementi” has proven to be one
*Source: “Progressive Rock Reconsidered,” by Kevin of the group’s best albums ever!
Holms-Hudson, Ed. (2002).
BEST ALBUMS:
BEST ALBUMS: Collage (71), Uomo Di Pezza (72), Felona E Sorona (73),
The Yes Album (71), Close To The Edge (72), Fragile (72), Contrappunti (74), Florian (79), Elementi (01)
Relayer (74), Going For The One (77) RENAISSANCE - England (1969)
The STRAWBS - England (1969) FOLK PROGRESSIVE ROCK
FOLK PROGRESSIVE ROCK Founded in 1969 by ex-YARDBIRDS members, RENAIS-
This well-known group’s progressive rock of the early 70s SANCE went through several personnel changes, first
differed from their more successful compatriots, like The featuring singers Keith Relf and his sister, Jane (who later
MOODY BLUES, KING CRIMSON and PINK FLOYD. fronted a very RENAISSANCE-like band called ILLUSION),
Their sound originated from a more traditional British folk as well as drummer Jim McCarty. All had left by 1971, after
style blended with enough rock to form a unique sound. The the release of a couple of unsuccessful albums in 1969 and
STRAWBS have recorded over 15 albums through the years, 1971.
with various line-ups around the core of David Cousins, who is By 1973, a solid core of new musicians rallied to form what
the main songwriter and driving force of the band. He has also was to become the band’s classic line-up: guitarist Michael
released a couple of excellent solo albums. Dunford, bassist Jon Camp, keyboardist John Tout, drummer
24
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
2- FIRST WAVE - 1970s
Terry Sullivan, and, of course, classically-trained singer Annie through “Playing The Fool Live” are essential progressive rock
Haslam. Fronted by Haslam’s angelic, five-octave soprano, releases (with the possible exception of “Interview”), standing
singing lyrics by poetess Betty Thatcher, the band’s highly as a testament to the band’s ingenuity, talent and consistent
orchestrated material cleverly blended rock and classical reinvention. This period of the band’s career would see a
music, creating some of the most beautiful and moving songs fittingly grand conclusion on the live “Playing The Fool”
in the folk-progressive repertoire. This classic line-up went on album. What more is there to say about these masters of pro-
to produce the band’s most acclaimed releases: “Prologue,” gressive rock?
“Ashes Are Burning” and “Scheherazade And Other Stories.”
In 2005, to celebrate the band’s 35th anniversary, a series of
By the late 70s, progressive folk rock bands were a dying
digitally re-mastered and specially packaged CD’s of many of
breed, as punk and new wave were taking the world by storm.
their albums was released, featuring many previously
BEST ALBUMS: unreleased bonus live tracks. The re-released albums include:
Ashes Are Burning (73), Turn Of The Cards (74), “In A Glass House,” “Free Hand,” “The Power And The
Scheherazade And Other Stories (75) Glory,” “Interview,” “The Missing Piece,” “Giant For A Day”
and “Playing The Fool Live.” If you love prog rock, then
EMERSON, LAKE & PALMER - England (1970) you’ll certainly love GENTLE GIANT.
SYMPHONIC PROGRESSIVE ROCK
BEST ALBUMS:
EMERSON, LAKE & PALMER (ELP) qualifies as a “super- Acquiring The Taste (71), Three Friends (72), In A Glass
group”: a band comprised of musicians who were initially House (73), Octopus (73), The Power And The Glory (74),
known as members of prior bands. Keyboardist Keith Free Hand (75)
Emerson was a member of The NICE, which was known for its
fantastic scenic performances. Greg Lake was the original bass HAWKWIND - England (1970)
player and vocalist for KING CRIMSON, after which he met PSYCHEDELIC AND ACID SPACE ROCK
Emerson and they explored the idea of creating a new group.
Over their 30-odd-year history, HAWKWIND were probably
Carl Palmer was the drummer for several groups, most notably
the most famous underground rock band in the world. The
ATOMIC ROOSTER.
group was formed in the late 1960s by guitarist/singer Dave
The music of EMERSON, LAKE & PALMER is heavily Brock, guitarist Mick Slattery and saxman/flautist/singer Nik
influenced by classical music; indeed, in addition to its Turner. Dave Brock was the leader of HAWKWIND, as well
original compositions, the band interpreted and arranged many as the “captain,” as it were. The band would never have made
classical masterpieces for progressive rock instrumentation. it for 30 years without Dave.
The sound of the “Moog” synthesizer - of which Emerson was
HAWKWIND’s history was marked by a series of confusing
one of the pioneers - is one of the major components of the
line-ups through 40 or so personnel changes. As a result, their
group’s sound. The band was also known for its theatrics,
sound continued to metamorphose and evolve: from an almost
including Emerson stabbing at his Hammond organ.
jazz feel (“Hawkwind”), to the “experimental” and acoustic
BEST ALBUMS: sounds of early 1970s releases (e.g., “In Search Of Space”), to
Emerson, Lake & Palmer (70), Tarkus (71), Trilogy (72), Brain a “metal” sound during the later 1970s, to a modern electronic
Salad Surgery (73) feel on the later works (e.g., “Electric Teepee”), one can detect
definite evolutions. Yet the band’s creativity seemed to be
GENTLE GIANT - England (1970) powered by the use of synthesizers to add to the intense mood
HARD PROGRESSIVE ROCK of their songs. With this foundation, along with heavy delay
A unique group - extremely underappreciated even by many and a touch of techno, HAWKWIND practically created a new
progressive rock fans - GENTLE GIANT’s music is a very sub-genre of progressive music that should be called
complex mixture of traditional rock and “medieval” style Psychedelic Acid-Space Rock - a sub-genre of which they were
music, with bits of classical, jazz and folk, and often features the masters.
intricate, extremely complicated instrumental and vocal BEST ALBUMS:
arrangements which can “frighten” many neophytes. The band In Search Of Space (71), Hall Of The Mountain Grill (74),
was able to come through the 70s maintaining an outstanding Warrior On The Edge Of Time (75), Levitation (80)
degree of integrity: despite altering their style over the years,
GENTLE GIANT was able to keep the quality of their music SUPERTRAMP - England (1970)
at a very high level, as only a few bands were able to do. ART ROCK
There is great music a plenty to be found in their work, as the A variant of progressive rock that some have called
band recorded 11 studio albums (plus a double live album) “sophisto-rock,” SUPERTRAMP is a sophisticated pop band
between 1970 and 1980. Their impressive catalogue speaks for that was able to consistently turn out very good songs such as
itself. Virtually every album from “Acquiring The Taste” “Crime Of The Century” and “Dreamer.” They are unique and
25
FORTY YEARS OF HISTORY
2- FIRST WAVE - 1970s
derivative and exciting and fun. Their first two albums were a BANCO DEL MUTUO SOCCORSO
nice escape from the occasional passionlessness of prog rock. Italy (1972)
Their music has been described as whimsical, lighthearted, ITALIAN & SYMPHONIC PROGRESSIVE ROCK
fluff and a million variations on this theme. One of their most
Often compared to EMERSON, LAKE & PALMER or
endearing qualities is that they have the ability to inject some
GENESIS (in their better period), BANCO were undoubtedly
humor into their music now and then. With over 18 million
the greatest of all of the Italian progressive rock bands in the
copies sold to date, “Breakfast In America” is one of the
mid-1970s. Their sound was influenced by folk themes,
greatest melodic pop/rock albums of the Seventies. After that
classical music, and the melodic experimental British bands of
album, SUPERTRAMP continued to develop a more R&B-
the time; e.g., early GENESIS, The NICE, and others.
flavored style.
The first three BANCO releases are definitely classics, with a
BEST ALBUMS:
strong baroque feel, the dual keyboard tapestries of the
Crime Of The Century (74), Crisis? What Crisis? (75), Even In
brothers Nocenzi, extremely complicated arrangements, and a
The Quietest Moments… (77), Breakfast In America (79)
strong vocal presence. BANCO is a model of sophisticated
ELOY - Germany (1971) rock, still playing now with the same enthusiasm they had
SPACE ROCK & SYMPHONIC PROGRESSIVE ROCK thirty years before. Essential to any serious progressive rock
collection.
A group to travel in time - a past very present.
BEST ALBUMS:
ELOY’s history places it at the top of the progressive and
Banco Del Mutuo Soccorso (72), Darwin! (72), Io Sono Nato
“Germanic” hierarchy (which is a somewhat confused period).
Libero (73), Banco (75)
The longevity of ELOY is owed to guitarist Franck
Bonermann, the man with the beret who has orchestrated the CAMEL - England (1973)
destiny of ELOY since 1971. Any doubts about the later CANTERBURY STYLE & SYMPHONIC PROGRES-
viability of the band were dispelled by the release of the SIVE ROCK
marvelous “Ocean 2” (1998). On it, past and present were
If JETHRO TULL is the “embodiment” of Ian Anderson, then
joined together in a marriage of top-notch symphonic and
CAMEL is the embodiment of guitarist Andy Latimer. The
echo-electronic elements, paving a new future, and perhaps
group’s music is heavily jazz-influenced, and comprises long,
leading to a renewed success. ELOY can be considered to the
melodic instrumental flights. CAMEL is one of the “headline”
land of Goethe what PFM, LE ORME or BANCO are to Italy.
groups of progressive rock, and is more or less affiliated with
the “Canterbury” school of prog. Clearly influenced by this
BEST ALBUMS:
style when they started (early Seventies), the band followed the
Dawn (76), Ocean (77), Silent Cries And Mighty Echoes (79),
path of CARAVAN before developing its own personality. The
Ocean 2 (98)
group continues to record, with a new keyboardist and a
PREMIATA FORNERIA MARCONI - Italy (1972) French-Canadian drummer.
ITALIAN & SYMPHONIC PROGRESSIVE ROCK
BEST ALBUMS:
PFM is without any doubt the best-known Italian progressive Mirage (74), The Snow Goose (75), Dust And Dreams (91),
rock group. Their music is influenced by GENESIS and ELP, Harbour Of Tears (96), Rajaz (99)
and is enriched by the use of violin, creating something of a
RUSH - Canada (1974)
“signature” sound. In an effort to reach more people
HARD PROGRESSIVE ROCK – PROGRESSIVE
(particularly the English-speaking British and Americans), the
METAL
group was persuaded to “remake” two of their albums with
English lyrics and vocals. Pete Sinfield (lyricist for KING RUSH is a Canadian “power trio” formed in 1969. Their
CRIMSON, among others) was given the responsibility of discography is one in which albums are done in cycles of three,
writing, rather than translating, lyrics for “Photos Of Ghosts.” in which the group develops a different style and approach for
From the musical point of view, some of the arrangements are each one. This began with “2112” (1976), with which the
also different than the original Italian releases. I prefer the group’s career took off. However, it was the release of the third
Italian versions of the songs. These albums are available in a album in this cycle - “A Farewell To Kings” (1977) - that
remastered box version through BMG Italy at a reasonable showed the band’s increasingly progressive approach. But the
price. best was yet to come. With “Hemispheres” (1978), RUSH
found enormous worldwide success, and became a progressive
BEST ALBUMS:
band to be reckoned with.
Storia Di Un Minuto (72), Per Un Amico (72), Photos Of
Ghosts (73) Although already a successful progressive rock band in the
Seventies, RUSH would see not one, but two direction changes
in their music that would increase both their influence and
26
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
2- FIRST WAVE - 1970s
27
FORTY YEARS OF HISTORY
3- SECOND WAVE - 1980s
THE SILVER AGE: NEO-PROGressive (or the new wave leave your favourite one out!]
of prog)
MARILLION - England (1983)
The late Sixties and early to mid-Seventies saw the birth and NEO-PROGRESSIVE (NEO-PROG)
Golden Age of progressive rock, but also its ultimate rejection,
Originally founded by drummer Mick Pointer and bassist Pete
denigration and “exclusion.” Yet in spite of the “punk” tidal
Trewavas as SILMARILLION in 1978, guitarist Steve Rothery
wave of 1977, certain progressive rock groups persisted in
joined in 1979, and vocalist/lyricist Fish joined in 1980,
producing prog rock “in the shade”; i.e., in a marginalized
renaming the band MARILLION. The group wrote material
fashion. Other groups (e.g., GENESIS, YES) changed their
and played live for a full two years - testing its material - prior
“sound” in order to remain “current” (i.e., “commercial,”
to releasing its first studio album in 1982. Although clearly
though not always “bad”), and in doing so ended up with even
“progressive” in its use of various progressive elements, the
greater success than they achieved during their early years.
music was more “accessible” than “strict” prog. In this regard,
Certain veteran musicians of the progressive scene even
the term “neo-progressive” could arguably first be applied to
created new “supergroups” (e.g., ASIA), incorporating both
MARILLION.
progressive and more “commercial” elements. Others, like
KING CRIMSON, continued to make strictly “progressive” The band’s strongest influence is GENESIS, and many
music, but left aside some of the more “symphonic” elements. neophytes considered MARILLION to be a “clone” of
This decade also saw the considerable influence of RUSH, GENESIS. At first listening, Fish does approach his vocals in
which had successfully merged progressive and commercial a style similar to Peter Gabriel. However, his voice is more
elements to become a headline group. “muscular.” Mick Pointer left the group after the first album
(and would later help found ARENA during the “third wave”
Yet despite the rejection of progressive music by the critics
of the Nineties), and was replaced by Ian Moseley. In 1988,
(and much of the public), at the beginning of the Eighties some
Fish left the group (after four studio albums), and was replaced
young musicians seemed eager to “buck the trend” and create
by Steve Hogarth. Since the departure of Fish, the group’s
truly progressive music. Among these new groups, only
sound has changed, and they have both lost old fans and gained
MARILLION, IQ and PENDRAGON saw any real measure of
new ones as a result.
success. However, along with the success of YES’ “Drama” in
1980, although the “second wave” of progressive music was BEST ALBUMS:
short-lived, it proved that progressive music had not died, and Script For A Jester’s Tear (83), Fugazi (84), Misplaced
that there was indeed an audience out there that wanted it. Childhood (85), Brave (94), Marbles (04)
Neo-Progressive, Or the New Progressive Wave IQ - England (1983)
If the definition of “progressive rock” remains vague and NEO-PROGRESSIVE (NEO-PROG)
unfinished, the definition of “neo-progressive” is as much, if After MARILLION, IQ is the group that achieved the most
not more so, particularly because the term is used in various success during the “second wave,” but this success was
ways. Some use the term “neo-progressive” to describe the admittedly more modest. Like other groups of the “second
music of the groups of the “second wave” - “neo-progressive” wave,” IQ was initially known for its spectacular
being used here to denote the direction of the “new progressive performances. The groups’ first studio album was released in
wave.” This use can certainly be defended. After all, although 1983, and presented a clearly “neo” sound, with influences
strongly inspired (and often influenced) by the pioneers of including GENESIS. The original vocalist of IQ, Peter
progressive rock, the music of the “neo-progressive” groups Nichols, left in 1985, but returned in 1993 with the album
has clear differences. Still, some consider this use of the term “Ever,” which proved that the group was ready to take its
“neo-progressive” to be belittling, even pejorative. Some rightful place in the “third wave” as well.
believe that only progressive rock produced in the Seventies is
worthy of the appellation “progressive.” I believe this view to BEST ALBUMS:
be not only narrow - distorting what makes progressive rock Tales From The Lush Attic (83), The Wake (85), Ever (93),
“progressive” - but also divisive. Indeed, some of these people Subterranea (97), Dark Matter (04)
use the term “neo-progressive” to disparage the music of later
PENDRAGON - England (1984)
progressive groups whom they do not like.
NEO-PROGRESSIVE (NEO-PROG)
Here are some of the new groups who made progressive rock
Founded in 1981, PENDRAGON released its first album in
in the Eighties, and who deserve serious attention. The bands
1984 with musicians Mick Barret (guitar/vocals), Peter Gee
are listed in chronological order of the appearance on the
(bass), Clive Nolan (keyboards) and Fudge Smith (drums).
scene: the year in parentheses is the year in which their debut
And although the group saw some minor success during the
album appeared.
“second wave,” it was not until the beginning of the Nineties,
[Please note: This is NOT meant to be a complete list of all during the “third wave,” that the group really made its name.
bands, just an example of some; so don’t be offended if I The music of PENDRAGON is easily recognizable: long
28
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
3- SECOND WAVE - 1980s
29
FORTY YEARS OF HISTORY
4- THIRD WAVE - 1990s
Roine Stolt (The FLOWER KINGS), bassist Pete Trewavas rock-cum-progressive-rock sound (“Caress Of Steel”). In the
(MARILLION) and drummer Mike Portnoy (DREAM late Seventies, their sound changed to solid progressive rock
THEATER). Morse also sang on AYREON’s “The Universal (“Hemispheres”). In the early Eighties, their sound became
Migrator Part One: The Dream Sequencer.” In 2003, Neal “hard progressive rock” (“Permanent Waves”). It was this
Morse had a “conversion experience,” leaving SPOCK’S sound that many of the “third wave” groups picked up on, and
BEARD to pursue his life as a Christian. However, he did not which would become a “progenitor” for “progressive metal.”
give up music. Quite the contrary! Mr. Morse has released four
Ten years later (1992), DREAM THEATER released “Images
solo albums since his departure from SPOCK’S BEARD, all of
And Words,” which became the “launching pad” for the new
which are as progressive, if not more so, than his former band.
“progressive metal,” and much of the “third wave” of the
Indeed, these albums - “Testimony” (2003), “One” (2004), “?”
Nineties. However, due to record company policies and other
(2005), and Sola Scriptura (2007) - may well be seen as the
factors, this “resurgence” of progressive rock via “progressive
birth of a new sub-genre : Christian Progressive Rock!
metal” was more noticeable in Europe and Japan than in the
BEST ALBUMS: U.S. Indeed, some of the bands that came out of this resurgence
The Light (95), V (00), Snow (02) are only now being imported into the U.S.
2. NEW PROGRESSIVE METAL: RESURGENCE OR Of the truly important “progressive metal” bands, DREAM
REVIVAL? THEATER stands above the rest. And with the 1999 release of
“Metropolis Pt. 2: Scenes From A Memory” - a concept album
Progressive Metal enjoyed a renaissance in the late Eighties
masterpiece - DREAM THEATER cemented its place in
and early Nineties, with bands like QUEENSRYCHE,
progressive rock, and brought it screaming into the new
FATES WARNING and DREAM THEATER.
millennium. In a more melodic and symphonic vein, PAIN OF
Yet another large part of the progressive “revival” of the SALVATION is another top progressive metal group. Finally,
Nineties came from one of the least likely of places: metal AYREON (founded by ex-VENGEANCE multi-instrumen-
rock. Indeed, “progressive metal” has become not only talist Arjen Lucassen) is one of the great groups of the
commercially viable, but enormously successful. If you know neo-progressive/progressive metal scene, making use of many
the three bands mentioned above, then you are familiar with talented prog musicians.
“progressive metal.” If you do not, then know that “progressive
Today, progressive metal is unquestionably the genre in which
metal” combines “heavy metal” elements (e.g., raw power,
amateurs have the most hope of achieving commercial
speed and dynamic rhythmic passages) and “progressive”
recognition and success, without compromising artistic
elements (e.g., shifting time signatures, “symphonic”- style
integrity. And yet the progressive movement remains in flux:
keyboards, and extended thematic compositions). The degree
although progressive metal is currently the main “channel”
to which these elements are used varies from group to group.
through which progressive music is being directed and heard,
However, all of these groups have some common elements,
there are other, “fringe” things happening in progressive music
including virtuoso musicianship, highly melodic styles, a
which could either trickle into the scene or burst upon it.
definite role for synthesizers, and extended instrumental
passages which include often breath-taking guitar solos. Here are some of the new groups who made “progressive”
Because “progressive metal” is both a “search” for a new metal a force to be reckoned with, and are helping to keep
sound and yet incorporates elements of that new sound, it is progressive music alive in the new millennium. The bands are
often difficult to describe it, or compare it to anything. listed in chronological order of their appearance on the scene;
the year noted in parentheses is the year in which their debut
Although many progressive metal bands (including DREAM
album appeared.
THEATER, AYREON and PAIN OF SALVATION) have
influences that include some of the pioneer bands, there is [Please note: This is NOT meant to be a complete list of all
little question that their primary influence was RUSH - who bands, just an example of some; so don’t be offended if I
themselves had yet another “revival” of their own in the leave your favourite one out!]
Nineties. Because of their unique place in the creation of
“progressive metal,” a special note is required here. DREAM THEATER - USA (1989)
PROGRESSIVE METAL
RUSH - Canada (1974)
3 musicians, 3 albums per cycle, 3 decades
As noted above, perhaps the most important progressive metal
band is DREAM THEATER, which is comprised of five
Combining progressive elements (e.g., YES, ELP) and prodigious classically-trained musicians : James LaBrie
“straight” hard rock/metal elements, RUSH are, consciously or (vocals), John Petrucci (guitar), Jordan Rudess (keyboards),
not, almost unquestionably the founders, or at least the primary John Myung (bass) and Mike Portnoy (drums). Their music
progenitors, of “progressive metal.” Indeed, almost every combines hard rock rhythms, melodic lines, and progressive
“progressive metal” band playing today cites RUSH as its elements and arrangements. Lyrics range from poetic to
primary influence. RUSH began in the mid-Seventies with a abstract to Gothic. DREAM THEATER’s influences - which
31
FORTY YEARS OF HISTORY
4- THIRD WAVE - 1990s
have been synthesized into a powerful, dramatic presentation - metal with Gothic tendencies, and falls somewhere between
include the heavier sounds of RUSH, IRON MAIDEN and FATES WARNING’s “Parallels”/“Inside Out” stage, and early
METALLICA, combined with the progressive elements of GENESIS and PINK FLOYD. Year after year, album after
bands such as PINK FLOYD, KING CRIMSON and YES. album, their music changes little by little, getting closer and
closer not only to classic “progressive,” but claiming a unique
DREAM THEATER has developed and built on this formula
place in the progressive genre.
for 17 years, has sold millions of albums in the U.S. and
Europe, and sell out every tour. Their second album, “Images BEST ALBUMS:
And Words” (1992), is considered by many as a “reference The Perfect Element Part I (01), Remedy Lane (02), Be (04)
point” for progressive metal, a sort of “heavy metal”
The End of the Third Wave
counterpart to what YES’ “Close To The Edge” is for many
progressive rock fans. Today, “progressive rock” lives primarily in groups such as
England’s PORCUPINE TREE, Sweden’s The FLOWER
BEST ALBUMS:
KINGS and PAIN OF SALVATION, and the U.S.’s SPOCK’S
Images And Words (92), Awake (94), Metropolis Pt. 2: Scenes
BEARD and DREAM THEATER. Groups such as
From A Memory (99), Train Of Thought (03), Octavarium (05)
RADIOHEAD, GODSPEED YOU BLACK EMPEROR,
AYREON - Netherlands (1995) NINE INCH NAILS, OPETH and SIGUR ROS are new bands
PROGRESSIVE METAL that have embraced progressive elements in an effort to create
interesting music in their own styles. Magazines (extensive
Between 1984 and 1992, Dutch multi-instrumentalist,
reviews, concerts, interviews) and distributors (which means
composer and singer Arjen Lucassen released four albums with
recording, mixing, mastering, visual identity and artwork)
VENGEANCE before that band’s break-up. In 1994, his dream
provide much-needed support for these groups and the genre
project - AYREON (not actually a band name, but a title for a
in general.
series of rock opera projects) - was born, and released its first
album, “The Final Experiment,” the following year. Since However, there are still flourishing (if largely "underground")
then, AYREON has released seven more albums, though progressive scenes in Western Europe United Kingdom, Italy,
AYREON remains largely unknown to the general public. Holland), Eastern Europe (Hungary, Poland), the US, Canada,
Lucassen also got involved in other projects, including STAR South America (Brazil) and Japan, with yearly festivals or
ONE’s “Space Metal” (2002) and another band-oriented outfit, concerts being held for enthusiasts, as well as an extremely
AMBEON. passionate worldwide online fan base and community.
In Lucassen’s fertile mind, progressive and space metal, art
rock, folk rock and symphonic rock are combined in
large-scale concept epics and rock operas. Lucassen’s works
are halfway between a very picturesque progressive rock and
devastating hard rock, with varied elements and contrasting
musical “climates.” AYREON features a revolving-door cast of
well-known prog and metal singers and guest musicians that
changes from project to project. With “The Human Equation”
(2004), Lucassen again builds a bridge from the past into the
future of sophisticated progressive rock music.
Recommended for lovers of hard progressive and strong
melodies...!
BEST ALBUMS:
The Final Experiment (95), Into The Electric Castle (98), The
Universal Migrator Part I & Part I II (00), 01011001 (08)
PAIN OF SALVATION - Sweden (1997)
PROGRESSIVE METAL
Formed by singer, guitarist and songwriter Daniel Gildenlow
(ex-REALITY), PAIN OF SALVATION (POS) is one of the
leading bands in progressive metal, often mentioned in the
same breath with DREAM THEATER, which provided some
influence on them. The group specializes in concept albums,
such as “Entropia” (1997) and “One Hour By The Concrete
Lake” (1999). POS always pushes the limit of progressive
32
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
4- THIRD WAVE - 1990s
CONCLUSION
With the advent of the World Wide Web - which is not only
global in nature, but eliminates virtually all arbitrary global
"boundaries" - progressive rock is on the rise again. Since the
Internet provides an avenue for distribution and
communication which was previously monopolized by the
"major labels" (the "commercial" rock establishment and the
"corporate" media that supported that establishment. It is now
undeniable that progressive rock never actually "died" - it
simply went underground until a new avenue arose to
disseminate and talk about it, and thus increase its following
throughout the entire world.
We invite you to explore these musical territories without
borders, where sound environments will transport you to
places not touched by conventional and commercial rock.
To : Future fans (lovers?) of progressive music...
HAPPY PROGRESSIVE VOYAGE WITHOUT BORDERS!
‘’I invented my own wisdom
Like a counterfeiter’s stash
But I couldn’t create my own heaven
Just a lot of worthless trash.’’
Help me / The Spirit An The Flesh
NEAL MORSE : ‘’One’’ (2004)
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FORTY YEARS OF HISTORY
INDEX E - Top 20 Prog Albums
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
INDEX E - Top 20 Prog Albums
symphonic, polished and atmospheric than anything on their progressive rock collection.
first two albums, and features some of their strongest ever
ELOY
melodies and themes. A few passages also include some
OCEAN
orchestration, giving a very big and impressive sound. Many
(HARVEST 1977)
of the tracks on the album are rather short (there are 16 of
them!), but all of them float into one another, creating a 45- This classic concept album about
minute constant flow of music. The album opens with the lush, the rise and fall of Atlantis is, for
symphonic sounds of “The Great Marsh” and moves into many people (including me),
“Rhayader,” which, along with “Supertwister,” stands as the ELOY’s best work. The album
best flute theme ever written by guitarist-composer Andy consists of four lengthy tracks in
Latimer. The more complex “Rhayader Goes to Town” which the band manages better
demonstrates the instrumental abilities of all the members very than ever to combine its atmospheric sound with really strong
well, even if Latimer and keyboardist Peter Bardens remained themes and melodies. The opener, “Poseidon’s Creation,” is
the primary musicians. “Fritha” and “Rhayader Alone” show one of ELOY’s best tracks ever, stuffed with a heavy organ riff,
Latimer from his most beautiful and utterly atmospheric side, atmospheric Moog themes, a melodic vocal part, and a very
while the title track shows his melodic guitar playing from its majestic ending with a choir. “Incarnation Of The Logos” has
best side. Although the album is primarily instrumental, the usual sci-fi atmosphere of ELOY, with a beautiful
“Migration” does in fact feature some vocals, though no lyrics: instrumental theme in the middle. “Decay Of The Logos” is a
just a very catchy vocal-theme sung by Latimer. Side 2 opens very dramatic track with lots of typical 70s German-sounding
with the cheerful “Flight Of The Snow Goose” that quickly keyboards. The first part of the 16-minute “Atlantis Agony At
moves into the more free-floating “Preparation,” which offers June 5th - 8498, 13 p.m. Gregorian Earthtime” (!!!) sounds
some truly haunting atmospheres. “Dunkirk” is orchestrated almost like Klaus Schulze with narration. The track builds up
progressive rock at its most powerful and majestic, building in the middle to yet another very powerful and majestic
slowly up to an energetic finale. Then come some short and progressive tune. “Ocean” remains ELOY’s finest moment,
atmospheric interludes before “La Princesse Perdue,” which simply because it features some of their best material and
re-visits several earlier themes on the album. Finally, the entire atmospheres, and the band manages to make something
album slows down gently, returning to the opening “The Great completely their own - something that reminds one of no other
Marsh,” which slowly fades out and marks the ending of one progressive rock band. Along with NOVALIS’
of progressive rock’s most memorable and successful “Sommerabend” and GROBSCHNITT’s “Rockpommel’s
instrumental albums. Very essential stuff! Land,” this is one of the essential symphonic progressive rock
albums from Germany.
CARAVAN
IN THE LAND OF GREY AND EMERSON, LAKE &
PINK PALMER
(DERAM 1971) BRAIN SALAD SURGERY
(MANTICORE 1973)
CARAVAN’s definitive master-
piece, and probably the very first “Tarkus” is ELP’s best track, but
“Canterbury” album you should their best ALBUM, in my opinion,
check out. Side one is comprised is “Brain Salad Surgery.” This
of four light and nice tracks. The shows just how “over the top”
best (and most progressive) of these is probably “Winter ELP could be without falling
Wine.” Great themes, melodies and the typical CARAVAN down on the other side of it (like they did later). The album
sound dominate this mellow and excellent track. “Golf Girl” opens with an absolutely beautiful version of the old English
shows the band at its least serious side, though some trumpet hymn, “Jerusalem.” Hearing Greg Lake’s wonderful voice
and Mellotron take care of the progressive sound. “Love To against Keith Emerson’s mighty church organ gives me goose
Love You” is a pure and very catchy pop track. The title track bumps every time. Then you’re in for one of ELP’s most
is a mellow and nice song that fits the atmosphere of the cover experimental pieces ever with their version of Ginastera’s
quite well. However, what really makes the album essential is “Toccata.” The organ parts are in the vein of the most
the fantastic, 22-minute “Nine Foot Underground.” This aggressive parts from “Tarkus,” while the synths and
incredible piece of art gets my vote as one of the ten best electronic parts are some of the weirdest and most freaked-out
progressive rock tracks ever. The track is made up of the best, playing Emerson ever did. The first self-written track on the
most inspired and energetic jams, instrumental and vocal parts album is Lake’s magical “Still…You Turn Me On.” This is
that CARAVAN has ever done. The excellent and distinctive easily one of his strongest songs ever. Oh, and Peter Sinfield
organ sound comes to the fore, and the track as a whole is was now the man who was writing lyrics for the band, thus
simply as perfect as it gets. An essential album for any serious making sure that the band delivered top-notch stuff in that
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FORTY YEARS OF HISTORY
INDEX E - Top 20 Prog Albums
department, too! Unfortunately, you then have to suffer negative effect, as they delivered yet another one of their very
through a few minutes of 100% pure garbage in “Benny the best works with the masterful “In A Glass House.” The opener,
Bouncer.” Sorry, guys - you’re not funny at all, so you would “Runaway,” starts with the sound of glass breaking
be better focusing on making good progressive rock instead of rhythmically, and has everything you expect from a Gentle
pretending to be comedians. And making good progressive Giant classic: weird rhythms, quirky riffs, ethereal vocal
rock was just what the boys did on the rest of the album, which harmonies, jazzy passages with xylophone solos, medieval
consists of the 30-minute “Karn Evil 9.” The piece was so long influences, and an overall breathtaking complexity that few
that they actually had to start on Side 1 and then continue it on other bands have mastered. No wonder why this song became
the whole of Side 2! Only “Tarkus” can rival this masterpiece a permanent part of their concert repertoire. “An Inmate’s
as ELP’s best composition ever. This is keyboard-based Lullaby” is perhaps their most percussive track ever. It’s a very
progressive rock heaven, stuffed with masterful instrumental laid-back and atmospheric song, with mildly distorted vocals
passages, and strong riffs, themes and melodies all the way (not unlike KING CRIMSON’s “Moonchild”) and an
through. A stunning masterpiece in the history of progressive arrangement that consists of nothing but various percussion.
rock! But time would show that this was also ELP’s last The main part of “Way Of Life” is a fast-paced and aggressive
classic album. tune, but also features complex keyboard themes and a more
symphonic and melodic part in the middle (in the style of
GENESIS
“Think Of Me With Kindness”) which also appears again
SELLING ENGLAND BY THE
toward the end of the song. “Experience” starts as a
POUND
medieval-influenced song with a fairy tale-like melody sung by
(CHARISMA 1973)
keyboardist Kerry Minnear. The vocals are not surprisingly
Back in the studio again, switched over to Derek Shulman for the heavy and ballsy
GENESIS made perhaps their best mid-part. “Reunion” is a short and tender acoustic ballad, and
album with “Selling England could not possibly be more different from the ultra-complex
By The Pound.” The record is title track that follows. The title track starts like an upbeat jig,
a flawless masterpiece that followed by a medieval-like main melody before returning to
demonstrates some of the best and most perfect songwriting, the jig again. The pace then changes drastically as the song
arrangements, production and performance to be found in 70s becomes slightly jazzier and the rhythms change faster than
symphonic progressive rock. The album also showed you probably can take in on a first listen. The tune pretty much
GENESIS from their most British side, as most of the lyrics then stabilizes itself into a rocking and heavy mid-tempo song,
were influenced by British history, legends and folklore. Steve but the unexpected chord changes and complexity continues
Hackett delivers my all-time favorite guitar solo in the even here. There’s also a short and bluesy acoustic guitar solo
stunningly beautiful “Firth Of Fifth.” “The Cinema Show” - very unusual for GENTLE GIANT - mixed in with the
starts as a typical GENESIS tune of the quiet and atmospheric medieval “surroundings” and heavy riffs. “In A Glass House”
kind, but builds up to an impressive and mighty instrumental is just as good as “Octopus” and, of course, just as essential.
part that I wish could go on forever. And at the very end, it
HAWKWIND
returns to the main theme of the fantastic opener, “Dancing
WARRIOR ON THE EDGE OF
With The Moonlit Knight” - which could very well be my
TIME
ultimate favorite GENESIS track. Phil Collins is also allowed
(UNITED ARTISTS 1975)
to sing a few lines in the laid-back “More Fool Me,” in which
the simple arrangement offers a comfortable break from the The band’s fifth studio release
mighty and majestic cascade of sound on the rest of the album. turned out to be their most
“The Battle Of Epping Forest” has some of the most complex ambitious album ever, and the
lyrics that Peter Gabriel ever wrote, and the album even scored cover that folded out into a shield
the band’s first hit single with “I Know What I Like (In Your was just the first clue. They hired
Wardrobe).” The sound and style of the latter track would point sci-fi writer Mike Moorcock to help with some of the lyrical
forward to the next album. concept, and he also reads several poems in between the tracks.
Never before or after did HAWKWIND (or any other band, for
GENTLE GIANT
that matter) better blend old-fashioned fantasy elements with
IN A GLASS HOUSE
futuristic sci-fi and space influences. And the material - and
(WWA 1973)
not least the arrangements - is some of the band’s best ever.
Saxman/Trumpeter Phil Shulman The first two tracks - “Assault And Battery” and “The Golden
left GENTLE GIANT after Void” - float into each other, and, along with “D-Rider,” these
“Octopus.” Yet instead of finding are HAWKWIND’s most majestic and biggest-sounding tracks
a replacement, the band decided to ever. The arrangements here have to be heard to be believed.
continue just as they were. And Tons of Mellotron, synths and distorted sax and flute create a
it seemed to have absolutely no very unique sound that actually sounds like no other band. The
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
INDEX E - Top 20 Prog Albums
guitar is unusually toned down here, but becomes more KING CRIMSON
dominant in the mix later on the album. After a short poem, IN THE COURT OF THE
we’re then taken straight away into space in the hypnotic and CRIMSON KING
dreamy instrumental, “Opa-Loka.” “The Demented Man” is (ISLAND 1969)
another of those lovely acoustic HAWKWIND tunes in which
No serious progressive rock fan
the band really manages to keep the obligatory “space” feel.
can be without at least four or five
The energetic “Magnu” is the first track on the album to
KING CRIMSON albums in his
feature a heavier riff, but it is actually more dominated by
collection. While their output was
Simon House’s excellent violin playing. This could very well
not always the most even one, they
be his best performance on a HAWKWIND album. Then we
were undoubtedly one of the most important and influential
get more poems by Moorcock, and another spacey, synth-
progressive rock bands ever. They also recorded with unstable
drenched instrumental, “Spiral Galaxy 28948.” The album
line-ups and shifting personnel, but leader and guitarist Robert
closes with “Kings Of Speed,” a catchy, straightforward rock-
Fripp kept the band going, no matter how often the other
er that was chosen as the single from the album. Dave Brock
members came and went. “In the Court Of the Crimson King”
himself regards “Warrior On The Edge of Time” as the band’s
is the definitive debut album by a progressive rock band.
crowning achievement, and most progressive rock fans rate it
There is absolutely no doubt or question about it, and it
next to “Hall Of The Mountain Grill” as HAWKWIND’s best
remains for me CRIMSON’s best album ever. The fact that I
album.
can forgive the 10 completely pointless minutes of tuning
JETHRO TULL instruments in “Moonchild” gives a clue as to how extremely
AQUALUNG good the rest of the album is. The legendary opener, “21st
(ISLAND 1971) Century Schizoid Man,” is a heavy, complex, raw, angry and
ultra-energetic showcase of angry, sax-driven progressive rock.
JETHRO TULL started in the late
Greg Lake spits out the lyrics with a distorted effect on his
60s as a basic blues-rock band, but
voice to underline the aggression and anger in both the music
leader-songwriter-singer-flutist
and lyrics. And speaking of lyrics, let’s not forget about
Ian Anderson would gradually
CRIMSON’s permanent lyricist, Peter Sinfield, who in my
transform them into one of the
opinion wrote some of the best and most poetic lyrics in
leading progressive rock acts of
progressive rock. His lyrics may seem weird and hard to
the 70s. Their evolution toward progressive rock reached its
understand at first, but most people with a certain degree of
peak with the classic “Aqualung.” The album has a kind of
imagination will be able to understand most of his genius
split-concept in which the first side features songs about poor
metaphors. The rest of the record is more mellow and
people and social/class differences, while the second side is
symphonic, with the Mellotron creating an often sinister carpet
about the problems of evil and organized religion. Musically,
of sound that perfectly fits the mood of the music and lyrics. “I
the album is a superb blend of heavy progressive rock mixed
Talk To The Wind” is actually one of the “brightest” moments
with tasty acoustic melodies dominated by Anderson’s
here, with a pleasant and relaxed melody that is beautifully
distinctive flute playing and Martin Barre’s excellent guitar
surrounded by flute. “Epitaph” is far darker and features one of
riffs. The opening title track demonstrates all sides of the band
Sinfield’s best lyrics ever. Just the Mellotron combined with
very well, and is the best song on the album, even if it’s one of
Fripp’s mellow guitar tones at the beginning is enough to make
the few TULL tracks to feature no flute at all. “Cross-Eyed
me shiver. The first two minutes of “Moonchild” is some of the
Mary” starts with some Mellotron and flute before it goes into
prettiest music that CRIMSON ever recorded, but the 10
a crunching rocker in which Anderson sings aggressively about
remaining minutes of the song unfortunately demonstrates one
a female Robin Hood. “Mother Goose” and “Wond’ring
of the problems with CRIMSON. Fripp obviously had a desire
Aloud” are among TULL’s finest acoustic ballads, with
to include on most albums something so experimental and
beautiful melodies and tasty string arrangements. Side 2 starts
weird that it more or less lacked any musical value, and the last
with the sinister “My God” which, next to the title track, is the
10 minutes of “Moonchild” is this album’s example of that
most progressive song on the album. The mid-part where a
desire. But it’s still bearable enough to listen to, especially
choir joins Anderson’s flute is one of the most magical
since you have the fantastic title track waiting for you
moments here. The blasphemous “Hymn 43” shows TULL
afterwards. The title track is simply so beautiful and majestic
from their most rocking and catchy side, but “Locomotive
that it can’t be described in words. Nobody until then had used
Breath” captures that side of the band even better, with one of
the Mellotron in a better, more powerful and symphonic way
the greatest rock riffs in history. The closing number, “Wind
than this. Everything goes straight out the window each time
Up,” starts as a ballad, but turns into yet another hard-rocking
the chorus appears. Symphonic progressive rock cannot
tune with a great sense of melody and a quite progressive
possibly get any better than this. “In The Court Of The
structure.
Crimson King” is the ultimate KING CRIMSON record, and
one of progressive rock’s most magical moments.
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FORTY YEARS OF HISTORY
INDEX E - Top 20 Prog Albums
THE MOODY BLUES FLOYD has made better and more progressive albums than
DAYS OF FUTURE PASSED this one, but it’s impossible to deny the fact that it’s their (and
(DERAM 1967) one of rock’s) most successful record in terms of sales.
Yes, I know The MOODY BLUES PREMIATA FORNERIA
are not the most complex band, MARCONI
but their influence on progressive PER UN AMICO
rock (and especially the (NUMERO UNO 1972)
symphonic aspect of it) is highly
PREMIATA FORNERIA MAR-
underrated. They were one of the
CONI (PFM) released what many
first bands to play rock with a symphonic sound, and they were
consider to be their best album
in fact the first band to use the “holy” Mellotron. So actually,
with “Per Un Amico.” The opener,
every band that uses a Mellotron was influenced by the
“Appena Un Po” is my personal
Moodies, like it or not! They originally started as a normal pop
favorite song by the band: the melodies and complex
band, but they turned into a symphonic band when
arrangements are just so stunningly beautiful. Symphonic
guitarist Justin Hayward and bassist John Lodge joined them.
progressive rock doesn’t get any better than this. And the
“Days Of Future Passed” is considered by some people to be
album never lets up after this. The title track and “Il Banchetto”
the very first progressive album, and I agree completely. The
both show slight influence from GENESIS, while “Geranio”
album’s concept tells about a day in the life of an average man.
has more of a GENTLE GIANT feel. But even though you
It was also the first attempt at mixing a classical orchestra (the
hear inspiration from other bands in their music, PFM always
London Festival Orchestra) with a rock band. Although they
keeps their own sound and identity intact. The complex and
failed to “meld” the two (the orchestra and the band rarely play
energetic instrumental, “Generale,” bounces from hard riffs to
together at the same time), the album is saved by the good and
whimsical vocal parts, and then to medieval folk music. With
inspired songwriting. “Nights In White Satin” (the Moodies’
“Per Un Amico,” PFM shows that they rival even the best
signature tune) and “Tuesday Afternoon” are the best-known
British progressive bands. This is a great place to start if you’re
tracks here, and very typical of the classic MOODY BLUES
not yet familiar with classic Italian progressive rock.
sound. Melancholic, emotional and beautiful melodies are
played in tasty arrangements that include Mellotron, flute and LE ORME
high vocal harmonies. Each of the band members usually FELONA E SORONA
contribute two to three songs on each album. Justin Hayward (PHILIPS 1973)
is responsible for most of the best-known songs, but all of the
Most people regard this as Le
members are talented songwriters. Overall, this is an amusing
ORME’s masterpiece, and it’s not
album with both historical and musical value. Important stuff
hard to understand why. “Felona
for anyone who wants to explore the roots of symphonic rock.
E Sorona” is a concept album that
PINK FLOYD flows perfectly from start to
DARK SIDE OF THE MOON finish. From what I’ve heard, the
(HARVEST 1973) concept is something about two different planets. In any case,
the music is awesome and the album has a sound all its own.
It’s almost impossible not to have
I’ve never heard an organ sound like this before; it’s nearly
heard this album is you have the
impossible to describe. You have to hear it for yourself. The
slightest interest in rock music.
closest comparison would probably be the keyboard sound of
“Dark Side Of The Moon” is
the classic ANGE albums. The atmosphere is quite dark and
perhaps the most overplayed and
mellow all the way through. Among the highlights are “Sospesi
overexposed album ever, and
Nell Incredible,” “Attesa Inerte,” “All Infuori Del Tempo,” and
personally I’m so sick and tired of it that it’s not easy for me to
the very powerful closing track, “Ritorno Al Nulla.” But there
judge its musical qualities any longer. However, what I’m
isn’t much meaning in pointing out highlights since the album
really sure about is that I’ve never cared much for “Money,” as
works best in its entirety. Essential stuff from the Italian
I think it’s a boring and half-assed tune and a cheap attempt at
progressive rock scene. As an aside, Peter Hammill (founder of
making a hit song. The rest of the album is far better, with
VAN DER GRAAF GENERATOR) was probably a fan of the
tracks like “Breathe,” “Us And Them” and “Brain Damage”
band, since he wrote the lyrics for the English version of the
defining the classic PINK FLOYD sound very well, with their
album.
slow pace and mellow vocal melodies. “Time” has always been
my personal favorite on the record. And in between these
songs, the band also stretches out instrumentally on tracks like
the experimental “On The Run” and the synth-drenched “Any
Colour You Like.” Personally, I’ve always felt that PINK
38
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
INDEX E - Top 20 Prog Albums
39
FORTY YEARS OF HISTORY
INDEX E - Top 20 Prog Albums
40
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
INDEX F – Progressive Art: The Most Beautiful ‘Album Covers’
41
FORTY YEARS OF HISTORY
Index F - Progressive Art: The Most Beautiful ‘Album Covers’
between these two worlds - the IV- The Worlds of Roger Dean
musical and the artistic - had
Born in 1944, English artist Roger Dean is undoubtedly the
already been established with
best-known artist in the world of progressive rock illustration,
GENESIS when the group record-
thanks to the numerous logos and album covers he has
ed two songs - "Entangled" ("A
conceived since 1971, especially for the groups YES and
Trick Of The Tail," 1976) and
ASIA. Mr. Dean is also the editor of two famous books
"Blood On The Rooftops" ("Wind
devoted to album cover art: the first, Views (1975), is devoted
And Wuthering," 1977) - inspired
to pictorial work, and the second, The Album Cover Album, is
by the imagery of Hipgnosis artist,
dedicated to the history of album cover art. The uniquely
Colin Elgie.
III- Paul Whitehead & Genesis
Although artist Paul Whitehead is also well-known for
multiple achievements in the fields of music and cinema, he
remains best-known for the album covers he created for
GENESIS. The album cover of "Trespass" is among the most
beautiful and surprising: at first glance evoking medieval
world imagery, the front cover also contains a black line
superimposed on the drawing like a gash. Only when the album
cover is unfolded do we see that the line is the notch of a
stylized drawings of Roger Dean use weird landscapes to
dagger seemingly embedded in the album cover. According to
evoke strange worlds inspired by fantasy literature and science
Whitehead, the notch and the knife are real. This dichotomy
fiction. The imposing universes - with glittering lights (often in
between the bucolic universe of the drawing and the brutal tear
tones of blue cobalt), and sometimes populated by mythical
of the knife corresponds to the music of this album, where in
creatures - have been imitated a thousand times, but never
the peaceful innocence which prevails in the majority of the
equalled. Chosen by Rolling Stone Magazine in its list of The
compositions is abruptly broken by "The Knife," one of the
Top 50 Album Covers of the Century, the album cover for Yes'
most aggressive songs ever recorded by the group.
"Tales From Topographic Oceans" illustrates both wonderfully
and with wonder the music and "cosmic" texts of YES. With its
blocks of desert rocks, its sunrise, its Maya temple, its fish
swimming in an azure atmosphere, and its overall magical
feeling, it is the prototype of the Roger Dean style.
lead singer, Fish, which are generally darker than those of that is how Hugh Syme works in
YES’ Jon Anderson. They put in play ‘real’ characters and "exploiting" the words :
places, but with a light tone of surrealism. following the famous example of
the cover photograph for The
BEATLES' "Sgt. Pepper" album,
RUSH's album covers are true
enigmas which their fans have
fun decoding down to the finest
detail. On the technical level, the
photograph is irreproachable and
required a considerable amount of technical deployment - to
such a degree that the record company refused to pay the extra
cost of staging the photo, which RUSH had to pay out of its
own pocket.
As Mr. Wilkinson himself puts it very well: there is always a
face behind the mask which distorts reality. "Misplaced VII- Simon Williams: The Carnival of Masks
Childhood" (1985) is a good example of the art of Mark
If Mark Wilkinson is most closely
Wilkinson for MARILLION: the barefoot, stern-faced child in
associated with MARILLION,
the uniform of a drum major appears quite real, but the
Simon Williams is synonymous
contours of the walls behind him grow blurred with clouds and
with the neo-progressive group,
a rainbow, and he is surrounded by motley objects (cage,
PENDRAGON. Its two most
harlequin, chameleon, magpie, wedding ring…) - symbols
famous album covers - "The
belonging to a group of imagery that recurs from one album
Masquerade Overture" and "Not
to another.
Of This World" - are vast narrative
Mark Wilkinson also created frescos filled with animals or
album covers for FISH, ASIA and, fairy-like characters referencing
in a more ‘common’ style, for the fantastic universe of the group. Sumptuous on the
IRON MAIDEN, HAWKWIND artistic level, and including a masterful use of colours, these
and JUDAS PRIEST. He is also multi-coloured artworks are powerfully ingrained images of
the creator of a superb draft album progressive art of the seventies.
cover for PORCUPINE TREE's
"The Masquerade Overture" in
"Lightbulb Sun," which was
particular is extremely well-
ultimately not used by the group.
conceived: its concentric compo-
sition accentuates chaos, while the
VI- Hugh Syme: Exploiting the Words
irradiating light of a bright central
Hugh Syme is the appointed sun becomes increasingly dark
creator of album covers for the and worrying on the edges. With
Canadian group, RUSH. Based its masked characters, magicians,
most of the time on puns that snakes, unicorns, angels and
refer to the titles of the songs or demons, this pictorial image is
album, his images, photographs or unquestionably alluring. Perfectly matched to the dimensions
drawings are highly creative prints of the old 33 rpm discs, the image is less well adapted to the
with a sense of humour. When smaller CD format, in which it becomes difficult to appreciate
RUSH changed its style on its all subtleties.
album, "Signals," Hugh Syme
VIII- Single Works
photographed a Dalmatian "marking his territory" near a fire
hydrant: a strong image with aggressive colors which, once Certain particularly successful
seen, remains in the memory. album covers are isolated (or
limited) works by artists who, for
For the album cover of RUSH's "Moving Pictures," a photo
one reason or another, did not
taken in front of Toronto's Queen's Park Building shows a
persevere in this art form. For
literal moving of pictures (including one of the "witch' Jeanne
example, the illustration of ELP’s
d'Arc, a reference to the song title, "Witch Hunt"), and all the
"Tarkus" should have ensured
"threes" in the photo - three paintings, three arches, three
English painter William Neal a
pillars, three characters in black, etc. - refer to the fact that
brilliant career. However, after his
RUSH is a trio. Other symbols are certainly hidden here, but
43
FORTY YEARS OF HISTORY
Index F - Progressive Art: The Most Beautiful ‘Album Covers’
realization of ELP’s "Pictures At An Exhibition" (and a few booklets of compact discs. Some of these new ‘album covers’
other, lesser-known album covers for both the Island label and give us a hint as to the best new artists, some of whom are
blues and reggae groups), Neal developed a more ‘traditional’ already establishing themselves and creating bright futures.
style, specializing in dreamy landscapes and seascapes.
For example, Per Dennis Nordin
One of the more disturbing album covers of 70s progressive is the creator of album covers
rock is that of the first KING CRIMSON album, "In The Court for the progressive "supergroup,"
Of The Crimson King." The cover depicts a "schizoid man" of TRANSATLANTIC. In the
the 21st century, painted by English artist Barry Godber in picture, a spaceship flying over an
1969. Godber died in February 1970 at the age of 24, so we unbounded ocean offers a simple
will never know whether this was a singular masterstroke, or and traditional image of science
whether he might have gone on to create more amazing fiction conceived by computer.
images. The advantage here is that the
image can be easily modified, and
Nordin has done just that: two different album covers for the
US and European markets - and some interesting variations -
are presented on the band’s website. Nordin has also designed
album covers for FLOWER KINGS.
Antwerp artist Jef Bertels’ cover painting for AYREON’s “Into
The Electric Castle - A Space Opera” is a beautiful surprise.
She points out the fairy-like world of the comic strip “Lanfeust
De Troy.” Beautiful lettering, beautiful colors, the subject
detailed and schematic: the attention is immediately grabbed,
Lastly, one cannot forget the singular work requested by Keith and one wants to see more of this strange planet. Bertels
Emerson in 1973 of Swiss painter H.R. Giger for the cover of exhibits the same mastery on AYREON’s “The Dream
ELP’s “Brain Salad Surgery” (a rather suggestive English Sequencer.” Thomas Ewerhard does not take such a ‘progres-
expression). The cover (which, for the vinyl album, opened sive’ or fantastical approach, but has nevertheless designed
outward from the middle like double doors to reveal a some beautiful album covers for SPOCK'S BEARD (“Day For
cryogenic box) is cold, metal, extraterrestrial, futuristic, and Night”), THRESHOLD (“Clone”) and especially ENCHANT
masterly - like all the work of the brilliant visionary who, a few (“Station-Wagon”), which captivate by their depth, light and
years later, would design the biomechanical creature for colors.
director Ridley Scott’s film, "Alien." Giger did do a few other
album covers, including one for MAGMA ("Attahk", 1978),
but none of them can compete with the extraordinary image
created for ELP.
45
FORTY YEARS OF HISTORY