2- FIRST WAVE - 1970s
THE GOLDEN AGE: The Pioneers (1969-1979)
Whereas The BEATLES were of “working class hero” status, several musicians of progressive rock came from the lower middle and middle classes. They often had training in classical music, and attended colleges or universities. They were ready to make rock their own way. Towards the end of the Sixties, English groups wanted to “exceed” the musical format imposed on them by the industry. They wanted to do something different - something that required more than short 3-minute songs with verses and choruses. Some turned to psychedelic rock, others to the example of The BEATLES, still others gave birth to “metal” rock (BLACK SABBATH). They chose to amalgamate various combinations of rock, classical, folk, electronics, contemporary, medieval, and other forms. They chose to give up the couplet/refrain structure for the greater freedom of more complex structures. These young musicians wanted to profit – musically – from new techniques, both instrumental and recording.
Jerry Lucky, author of “The Progressive Rock Files,” enumerates some of the elements that mark “progressive rock”:
“Longer songs, changes of tempo, Mellotron, use of symphony orchestra, words like ‘cosmic’ or ‘philosophical,’ etc.”
If these are the elements that began the history of progressive rock, then October 10, 1969 is the date that marks the true beginning of the progressive rock movement, as KING CRIMSON’s “In The Court Of The Crimson King” smashed to pieces virtually every standard and norm of rock, in as “monstrous” a fashion as the hallucinogenic face on its cover (which was painted by 23-year-old English artist Barry Godber in 1969; Godber died of a heart attack the following year).
KING CRIMSON
[INSERT ALBUM HERE]
“In The Court Of The Crimson King”
- October 1969 -
Around this time, rock music was incorporating elements of the rigid structure and discipline of classical music, along with various jazz, folk and, in some instances, neo-classical styles. This paved the way for pioneering prog bands of the 1970s such as EMERSON, LAKE & PALMER, GENESIS, GENTLE GIANT, JEHTRO TULL, KING CRIMSON, PINK FLOYD and YES – among the most famous names in prog – as well as dozens of lesser-known bands. These artists skillfully exhibited their experimentation through an increase in such elements as musical virtuosity, extended song lengths (sometimes taking up an entire two-album set), complex compositions, and imaginative/sophisticated lyrical concepts which were sometimes difficult to comprehend. The experimentation which was central to progressive music in the 1970s was being applied to virtually every aspect of the music: rhythmic, melodic, harmonic, lyrical, instrumental.
Some of the characteristics of the major bands were: EMERSON, LAKE & PALMER – classically diverse and futuristic; GENESIS – pastoral, humorous and whimsical; GENTLE GIANT – under-appreciated, aseptic, socio-political, exuberant experimentation; JETHRO TULL – contentious, productive, sophisticated structures and styles; KING CRIMSON – unique, different, ground-breaking, innovative and original sonic sculptors; PINK FLOYD – symphonic, melodic and socialist anthems; YES – pretentious, overblown, complex virtuosity and lyrically obscure. In considering all this, one begins to realize that the true diversity and value of progressive rock remains unsung.
All of these “Big Seven” were completely different in style, composition, format and execution. In this regard, the “progressive” appellation does all of them a disservice, as it groups them together under one umbrella, thus diluting the readers’ attention. In essence, each of them are worthy of a genre of their own.
Other bands – who, while never becoming as well known, are still fine examples of the genre – include ANGE, FOCUS, GONG, GROBSCHNITT, HAPPY THE MAN, HARMONIUM, HATFIELD AND THE NORTH, HENRY COW, MAGMA and THE SOFT MACHINE. All of these bands touch on elements of the “core” progressive bands, but also push 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!]
Whereas The BEATLES were of “working class hero” status, several musicians of progressive rock came from the lower middle and middle classes. They often had training in classical music, and attended colleges or universities. They were ready to make rock their own way. Towards the end of the Sixties, English groups wanted to “exceed” the musical format imposed on them by the industry. They wanted to do something different - something that required more than short 3-minute songs with verses and choruses. Some turned to psychedelic rock, others to the example of The BEATLES, still others gave birth to “metal” rock (BLACK SABBATH). They chose to amalgamate various combinations of rock, classical, folk, electronics, contemporary, medieval, and other forms. They chose to give up the couplet/refrain structure for the greater freedom of more complex structures. These young musicians wanted to profit – musically – from new techniques, both instrumental and recording.
Jerry Lucky, author of “The Progressive Rock Files,” enumerates some of the elements that mark “progressive rock”:
“Longer songs, changes of tempo, Mellotron, use of symphony orchestra, words like ‘cosmic’ or ‘philosophical,’ etc.”
If these are the elements that began the history of progressive rock, then October 10, 1969 is the date that marks the true beginning of the progressive rock movement, as KING CRIMSON’s “In The Court Of The Crimson King” smashed to pieces virtually every standard and norm of rock, in as “monstrous” a fashion as the hallucinogenic face on its cover (which was painted by 23-year-old English artist Barry Godber in 1969; Godber died of a heart attack the following year).
KING CRIMSON
[INSERT ALBUM HERE]
“In The Court Of The Crimson King”
- October 1969 -
Around this time, rock music was incorporating elements of the rigid structure and discipline of classical music, along with various jazz, folk and, in some instances, neo-classical styles. This paved the way for pioneering prog bands of the 1970s such as EMERSON, LAKE & PALMER, GENESIS, GENTLE GIANT, JEHTRO TULL, KING CRIMSON, PINK FLOYD and YES – among the most famous names in prog – as well as dozens of lesser-known bands. These artists skillfully exhibited their experimentation through an increase in such elements as musical virtuosity, extended song lengths (sometimes taking up an entire two-album set), complex compositions, and imaginative/sophisticated lyrical concepts which were sometimes difficult to comprehend. The experimentation which was central to progressive music in the 1970s was being applied to virtually every aspect of the music: rhythmic, melodic, harmonic, lyrical, instrumental.
Some of the characteristics of the major bands were: EMERSON, LAKE & PALMER – classically diverse and futuristic; GENESIS – pastoral, humorous and whimsical; GENTLE GIANT – under-appreciated, aseptic, socio-political, exuberant experimentation; JETHRO TULL – contentious, productive, sophisticated structures and styles; KING CRIMSON – unique, different, ground-breaking, innovative and original sonic sculptors; PINK FLOYD – symphonic, melodic and socialist anthems; YES – pretentious, overblown, complex virtuosity and lyrically obscure. In considering all this, one begins to realize that the true diversity and value of progressive rock remains unsung.
All of these “Big Seven” were completely different in style, composition, format and execution. In this regard, the “progressive” appellation does all of them a disservice, as it groups them together under one umbrella, thus diluting the readers’ attention. In essence, each of them are worthy of a genre of their own.
Other bands – who, while never becoming as well known, are still fine examples of the genre – include ANGE, FOCUS, GONG, GROBSCHNITT, HAPPY THE MAN, HARMONIUM, HATFIELD AND THE NORTH, HENRY COW, MAGMA and THE SOFT MACHINE. All of these bands touch on elements of the “core” progressive bands, but also push 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!]
posted by ProgLucky @ 5:11 PM
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