INDEX A - The definition
WHAT IS PROG ROCK?
“Progressive rock - also known as “prog rock,” “classical rock” or “art rock” – is a unique form of rock and roll music, occurring at the interstice between rock, jazz and classical music.”
The problem of “those words” is back – “progressive music” or “progressive rock” (or “prog,” for close friends) – with you to choose! The etymology of those terms has become almost “evil,” creating such a “headache” that it is difficult even to think, much less catalogue this diverting genre of music. But isn’t the “essence” of something specific to each one of us? After all, what good is it to disparage an album if one hasn’t listened to it? With “progressive rock,” one often only enjoys an album after having listened to it several times. Our tympanums are interpreters, but the “spirit” is our only judge.
It would take quite an astute mind to define it clearly. Many such minds have tried, with varying degrees of success. But ultimately each person has his/her own definition. Given human nature, there is nothing surprising about that. And yet even I have not yet offered a definition to anyone…yet. Now I do so, with, inevitably, an ounce (or maybe more…) of partiality:
“Progressive rock was largely a European movement, and drew most of its influences from classical music and jazz fusion, in contrast to American rock, which was historically influenced by rhythm & blues and country music. Over the years, various subgenres of progressive rock – or “prog” – have emerged, such as symphonic rock, art rock, neo- progressive and progressive metal.”
I would like to dispense with the myth that “Progressive Rock” emerged in England like a phoenix from the ashes. Indeed, the majority of bands who were newly formed at the end of the 60s and beginning of the 70s were very much inspired by the examples of Anglo-American acts such as CREAM, HENDRIX, VANILLA FUDGE, FRANK ZAPPA, KING CRIMSON and PINK FLOYD, to name but a few. As well, there were other bands who were looking for totally new forms and methods of playing together, such as SAGRADO CORACAO DA TERRA (Brazil), HARMONIUM and RUSH (Canada), ANGE, ATOLL and MAGMA (France), AMON DUUL, CAN, ELOY and TANGERINE DREAM (Germany), BANCO DEL MUTUO SOCCORSO and PFM (Italy), GERARD and KENSO (Japan), ABRAXAS and COLLAGE (Poland), FLOWER KINGS and PAIN OF SALVATION (Sweden), and DREAM THEATER and SPOCK’S BEARD (USA), to name but a few.
By pushing the research a little further, one realizes that, in general, most definitions of “progressive rock” share in common such terms as “EVOLUTION,” “PROGRESSION,” “INNOVATION” and “UNCOMMERCIAL,” and include a completely different approach to composition from other rock formats – particularly a “goodbye” to three-minute compositions constructed of verse-chorus-verse-chorus. Instead, one finds new musical structures (pieces from 6- to 20-minutes long, with intricate melodies and harmony), new instruments (electric guitars, violin, flute), and various keyboards (Mellotron, Hammond B3, synthesizers, piano, ARP, Moog) – all of which combine to create “musical odysseys” that call to mind jazz, musicals, or classical music, the latter of which gives us “symphonic prog.”
With regard to musical structure, “prog” usually offers complex arrangements – often including long, beautiful instrumental sections – and virtuoso musicianship, combining technical mastery and emotional solos. An early example is the 23-minute “Echoes” by PINK FLOYD. Other famous examples include YES’ “Close to the Edge” (18 minutes) and GENESIS’ “Supper’s Ready” (23 minutes). When not forced into using “mainstream” structures, artists have freer reign to integrate their individual and collective cultures and influences – classical, jazz, traditional – into the “energy” of their music.
“Progressive rock - also known as “prog rock,” “classical rock” or “art rock” – is a unique form of rock and roll music, occurring at the interstice between rock, jazz and classical music.”
The problem of “those words” is back – “progressive music” or “progressive rock” (or “prog,” for close friends) – with you to choose! The etymology of those terms has become almost “evil,” creating such a “headache” that it is difficult even to think, much less catalogue this diverting genre of music. But isn’t the “essence” of something specific to each one of us? After all, what good is it to disparage an album if one hasn’t listened to it? With “progressive rock,” one often only enjoys an album after having listened to it several times. Our tympanums are interpreters, but the “spirit” is our only judge.
It would take quite an astute mind to define it clearly. Many such minds have tried, with varying degrees of success. But ultimately each person has his/her own definition. Given human nature, there is nothing surprising about that. And yet even I have not yet offered a definition to anyone…yet. Now I do so, with, inevitably, an ounce (or maybe more…) of partiality:
“Progressive rock was largely a European movement, and drew most of its influences from classical music and jazz fusion, in contrast to American rock, which was historically influenced by rhythm & blues and country music. Over the years, various subgenres of progressive rock – or “prog” – have emerged, such as symphonic rock, art rock, neo- progressive and progressive metal.”
I would like to dispense with the myth that “Progressive Rock” emerged in England like a phoenix from the ashes. Indeed, the majority of bands who were newly formed at the end of the 60s and beginning of the 70s were very much inspired by the examples of Anglo-American acts such as CREAM, HENDRIX, VANILLA FUDGE, FRANK ZAPPA, KING CRIMSON and PINK FLOYD, to name but a few. As well, there were other bands who were looking for totally new forms and methods of playing together, such as SAGRADO CORACAO DA TERRA (Brazil), HARMONIUM and RUSH (Canada), ANGE, ATOLL and MAGMA (France), AMON DUUL, CAN, ELOY and TANGERINE DREAM (Germany), BANCO DEL MUTUO SOCCORSO and PFM (Italy), GERARD and KENSO (Japan), ABRAXAS and COLLAGE (Poland), FLOWER KINGS and PAIN OF SALVATION (Sweden), and DREAM THEATER and SPOCK’S BEARD (USA), to name but a few.
By pushing the research a little further, one realizes that, in general, most definitions of “progressive rock” share in common such terms as “EVOLUTION,” “PROGRESSION,” “INNOVATION” and “UNCOMMERCIAL,” and include a completely different approach to composition from other rock formats – particularly a “goodbye” to three-minute compositions constructed of verse-chorus-verse-chorus. Instead, one finds new musical structures (pieces from 6- to 20-minutes long, with intricate melodies and harmony), new instruments (electric guitars, violin, flute), and various keyboards (Mellotron, Hammond B3, synthesizers, piano, ARP, Moog) – all of which combine to create “musical odysseys” that call to mind jazz, musicals, or classical music, the latter of which gives us “symphonic prog.”
With regard to musical structure, “prog” usually offers complex arrangements – often including long, beautiful instrumental sections – and virtuoso musicianship, combining technical mastery and emotional solos. An early example is the 23-minute “Echoes” by PINK FLOYD. Other famous examples include YES’ “Close to the Edge” (18 minutes) and GENESIS’ “Supper’s Ready” (23 minutes). When not forced into using “mainstream” structures, artists have freer reign to integrate their individual and collective cultures and influences – classical, jazz, traditional – into the “energy” of their music.
“My ears are lucky to hear
These glorious songs
Of inspiration
And voices crafted from
Thunder
The power of life”
- Happy Rhodes, “Feed The Fire” (Warpaint version)
This “progressive current” – particularly developed in England at the end of the Sixties – moved away from traditional structures of rock and blues roots to explore European music in a broader way. Like any music, “progressive rock” has subgenres, defined according to the way in which various artists interpreted the new “current.” Ultimately, if one wanted to complicate matters, one could “define” an almost unlimited number of subgenres. However, without being completely exhaustive, the primary subgenres are:
Experimental (SOFT MACHINE, KING CRIMSON), psychedelic (PINK FLOYD), theatrical (GENESIS), traditional (EMERSON, LAKE & PALMER), symphonic (YES, CAMEL, GENTLE GIANT), and art rock/“pomp prog” in the Seventies (SUPERTRAMP). There are also the Canterbury School (CARAVAN, GONG), jazz-fusion (BRAND X, FRANK ZAPPA), Italian Progressive Rock (BANCO DEL MUTUO SOCCORSO, LE ORME, PFM), German Progressive Current (ELOY – space rock; AMON DUUL II – krautrock), progressive electronics (TANGERINE DREAM), Rock In Opposition, or R.I.O. (HENRY COW), and Zheul (MAGMA). There is even Progressive Instrumental (MIKE OLDFIELD), Folk Progressive (JETHRO TULL, RENAISSANCE, THE STRAWBS), Hard Progressive (RUSH), Neo-Progressive (MARILLION, ARENA, PENDRAGON), and Progressive Metal (DREAM THEATER, AYREON, PAIN OF SALVATION).
posted by ProgLucky @ 5:31 AM
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