YOUR ULTIMATE PROGRESSIVE ROCK RESOURCE
PROGRESSIVE ROCK HISTORY
1967 to the PRESENT
From the precursors toward the end of the Sixties until today.
Sub-genres, groups of reference, essential discs for each decade.
What would you think of having a trustworthy companion that would guide you through a journey that discovers the discs you dream about? That’s exactly our goal with ...
Through this "mini guide" of the "progressive music", it is intended that you would discover the kind of music by the means of four chronicles whereby each one covers one wave of the progressive movement. They correspond to this era : end of the Sixties (prehistory), the Seventies (the golden age), the Eighties (the silver age, the birth of neo progressive rock) and at the Nineties at our days (rebirth and new progressive metal).
Research & Redaction in French by...
Ronald Couture (ProgLucky), CANADA (FOUNDER OF PROGARCHIVES.COM)
SPECIAL THANKS...!
Improved and adapted in English by...
Ian Alterman (Maani), USA (FORUM MODERATOR & SPECIAL COLLABORATOR)
COLLABORATION (coming soon)...
A- INTRODUCTION
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. Out 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 more or less 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 you a definition…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. Over the years various sub-genres of progressive rock - or prog - have emerged, such as symphonic rock, art rock, neo progressive and progressive metal."
By pushing the research a little further, one realizes that, in general, most definitions of “progressive” share in common such terms as “EVOLUTION,” “PROGRESSION” and “INOVATION,” and include a completely different approach to composition from other rock formats - particularly including a “goodbye” to three-minute compositions constructed of verse-chorus-verse-chorus. One therefore finds new musical structures (pieces from 6 to 20 minutes, with intricate melodies and harmony), new instruments (electric guitars, violin, flute), and various keyboards (mellotron, Hammond B3, synthesizers, piano, ARP, Moog), 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, the artists have freer reign to integrate their individual and collective cultures and influences – classical, jazz, traditional – into the “energy” of their music.
Listen to a piece in its entirety:
Group: GENESIS
Album: Foxtrot (1972)
Song: Supper’s Ready (22:52)
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 sub-genres, 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 sub-genres. However, without being completely exhaustive, the primary sub-genres 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); TANGERINE DREAM (progressive electronics), R.I.O. Henry COW) and even zheul (MAGMA). There is even progressive instrumental (Mike OLDFIELD), progressive folk (JETHRO TULL, RENAISSANCE, The STRAWBS), progressive hard prog (RUSH), neo-prog (MARILLION, ARENA, PENDRAGON), and progressive metal (DREAM THEATER, AYREON, PAIN OF SALVATION).
B- PROGRESSIVE ROCK (1967 to the Present)
In this mini-guide to “progressive music,” I hope to get you to discover this genre by means of four “chronicles,” each one covering one “wave” of the “progressive movement.” These four chronicles correspond approximately to: the end of the Sixties (pre-history), the Seventies (the golden age), the Eighties (the money age), and the Nineties to the present (rebirth, and new progressive metal).
For certain groups, one will find a selection of their best albums. The interested reader will also find here some “tools” to dig a little into the history of “progressive rock,” … It is also a question of providing the maximum information at the reader’s fingertips so that, while having profited from the information provided, he can choose to add to that information.
In conclusion, I could never have written this article by myself. I relied heavily on the Web, and a gigantic network and exchange of information regarding “progressive rock,” which makes up the majority of the information provided below. As noted above, after an “eclipse” in the Eighties (progressive rock having had its “glory days” in the Seventies), “progressive rock” has been seeing a formidable rebirth, which I invite you to be part of! If you have not already done so, it is high time to discover this musical universe full of passion and unsuspected richness.
Gradually yours...!
1- PREHISTORY... not yet "prog" but almost! (1967 - 1969) Pierre Dulieu - Belgique
Ian Alterman - USA
Improved and adapted in English
FRANK ZAPPA
& THE MOTHERS OF INVENTION
Freak Out
- 1966 -
A first complex and disturbed project. With its parodies of pop music, its dissonances,
its avant-gardism, its odd effects, and its unforeseeable arrangements,
Frank Zappa’s “Freak Out” exploded all conventions of popular music.
Although the following are not yet productions of “progressive rock” as that term is used these days, they are nevertheless the first discs of “art rock” – or, if one wants, the first “tests” intended to raise rock music to higher levels of artistic credibility. By experimenting with sound texture, electronics, modern instruments, and new studio techniques, and “importing” sounds and ideas from a variety of global musical sources, these groups “opened up the doors” of rock…for better and for worse – but mostly for better!
 | The BEATLES
 Sergeant Pepper's Lonely Hearts Club Band - 1967
 In the line of its predecessor (“Revolver”), the most famous rock album of all time is a starting point that is impossible to circumvent. |
 | The MOODY BLUES
Days of Future Passed - 1967 -
Psychedelic rock is combined with the orchestral arrangements of the London Festival Orchestra to create an unclassifiable work, neither rock nor traditional. Includes the famous “Nights in White Satin.” |
 | PINK FLOYD
The Piper at the Gates of Dawn - 1967
Rock psychedelic on the its best level. "Interstellar Overdrive" is the first true opening in what one will call later Space Rock. |
 | PROCOL HARUM
A Whiter Shade Of Pale - 1967
A fusion of classical, rock and blues. An important album. With Matthew Fisher on organ and Robin Trower on guitar.
|
 | CARAVAN
Caravan - 1968
A subtle mixture of jazz and psychedelic rock, this album from the “Canterbury” school is among the first to have given direction to the concept of progressive music. |
 | GILES GILES & FRIPP
The Cheerful Insanity of Giles Giles & Fripp - 1968
Before the famous album "In The Court of The Crimson King", Robert Fripp and the Giles brothers had recorded an insane disc where one finds all and anything but also some first steps of what would be KING CRIMSON later. To listen especially by curiosity. |
 | The NICE
Ars Longa Vita Brevis - 1968
With this second disc in trio, Keith Emerson poses the bases of its vision of the progressive rock: an amalgam of rock and traditional certainly pretentious but which misses neither of ambition nor of plume. To rediscover if you like ELP. |
 | The SOFT MACHINE
Volume Two - 1969
English humor, dissonances, avant-garde, jazz and Robert Wyatt as well. A melting pot in the form of musical chaos perpetually on the fringe. |
 | VAN DER GRAAF GENERATOR (Peter HAMMILL)
The Least We Can Do Is Wave to Each Other - 1969
The dark and very emotional voice of Peter HAMMILL, his stories mystico-scientists and the very personal music of the group constitutes an alloy with share in the history of the progressive music. |
At this point, the “stakes” of progressive rock are solid.
The curtain can then fall on the Sixties.
Indeed, one has already entered the Seventies.
2- THE FIRST WAVE (1970 - 1979)
The Golden Age... The Pioneers
Whereas The BEATLES were of “working class hero” status, several musicians of progressive rock came from the middle and lower middle classes. They often had training in classical music, and attended the 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 the short 3-minute songs with verses and choruses. Some turned to psychedelic rock, others to the example of The BEATLES, others gave birth to “metal” (BLACK SABBATH). They chose to amalgamate rock, classical, folk, jazz, 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 began, then October 10, 1969 is the date that marks the true beginning of progressive rock, 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’s first album fused psychedelic with symphonic, electronic, experimental jazz, mellotron, new studio techniques, and even bits of metal and folk, to mark the birth of a mature, and extremely aggressive, “progressive rock” sound.
KING CRIMSON
"In The Court Of The Crimson King"
- 1969 -
Around this time, other groups were starting to build unique, sophisticated and inventive “sounds,” including GENESIS (then fronted by Peter Gabriel), CARAVAN, JETHRO TULL, PFM, PINK FLOYD, and SUPERTRAMP. Thirty years later, innumerable “progressive” groups would name these bands when laying claim to the heritage of progressive rock.
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!]
|  The MOODY BLUES - England (1964) |
| IMITATION... INNOVATION... SENSATION...! The MOODY BLUES began an R&B-influenced rock band in 1964. They consequently respected as one of the most innovative and long lasting groups to emerge during the 1960s. The MOODIES captured the imagination of music fans around the world with the landmark "Days Of Future Passed", one of the earliest « classical rock » records and featured the London Festival Orchestra as musical accompanists. They attempted to create one of the first concept like recordings ever having written songs which attempt to reflect the mood of a passing day. In my mind this album works as well as "Sgt Pepper" and early FLOYD offerings. This recording is a true classic and is essential in all good collections… During the years 1967 – 1974, they recorded seven very successfull albums, all of which went gold with releases like "On The Threshold Of A Dream" and "Question Of Balance". In the ‘70s, their music from this period was ambitious and pastoral and philosophical, featuring songwriting contributions from all five members (Graham Edge – drummer, Mike Pinder – keyboards, Ray Thomas – guitars, John Lodge – bass guitar, Justin Hayward – guitar). Hibernation of a sort followed in the mid ‘70s, as each member of the band released solo albums (Hayward and Lodge had the most success with their effort, BLUE JAYS). The band regrouped in the '80s and picked up where they left off (commercially anyway) with "Long Distance Voyager". Though the ‘90s found the MOODIES less of a commercial force than a cult band, the group still tours and releases albums on occasion (including 1999’s "Strange Time ").
TOP CDs:
 Days of Future Passed (1967) / In Search of the Lost Chord (1968) / On The Threshold Of A Dream (1969) / To Our Children's Children's Children (1970) / A Question Of Balance (1970) / Every Good Boy Deserves Favour (1971) / Seventh Sojourn (1972)
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| PINK FLOYD - England (1967) |
| PINK FLOYD is not simply one of the progenitors of progressive rock, but is probably the most popular group in the entire genre. Chosen by original founder/lyricist Syd Barrett, the name refers to the first names of two bluesmen: PINK Anderson and FLOYD Council, and the joining of the two names is translated into English as “Pink Flamingo.” The band originally formed in the mid-1960s during the “psychedelic” rock period, but then helped to develop what we now know as “progressive rock” – and particularly “space rock”- through the use of sound textures, effects, and emerging recording studio tricks and techniques. Personally, I have always believed that PINK FLOYD is an overrated group. They have some good albums, but also some very average albums. For me, PINK FLOYD is not as good as GENESIS or YES, yet they are undoubtedly more popular, better recognized, and more respected by the masses and critics. TOP CDs:
Dark Side Of The Moon (1973) / Wish You Were Here (1975) / Animals (1977) / The Wall (1979) |
| JETHRO TULL - England (1968) |
| Although JETHRO TULL is comprised of excellent musicians, it is primarily the creation and representation of its singer, lyricist and flutist, Ian ANDERSON. Indeed, Ian ANDERSON’s flute playing is one of the most characteristic elements of the group. The music is a mixture of folk, medieval, blues, jazz, rock, traditional, and almost everything else. With 60 million albums sold, and more than 250 concerts played in 40 countries each year, JETHRO TULL continues to record and perform. It is one of the “dinosaurs” of progressive rock, and one of its most beloved groups. TOP CDs:
Aqualung (1971) / Thick As A Brick (1972) / Heavy Horses (1978)
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| CARAVAN - England (1968) |
| A reference in the triumphal years of English Progressive rock, CARAVAN grew out of the breakup of The WILDE FLOWERS, a Canterbury-based group formed in 1964 as an R&B-based outfit with a jazzy-edge. In the wake of the earlier group’s dissolution, Pye Hastings (guitar & vocals), Richard Sinclair (bass & vocals), David Sinclair (keyboards), and Richard Coughlan (drums) formed CARAVAN in January of 1968. Their music etablished the mix of humor and progressive sounds (with warmful and pleasant vocal parts, long instrumental flight: guitar, organ sounds, and piano work, etc.), taking its roots from classical music through jazz and traditional English influences. CARAVAN is still active today, playing many live dates in Britain and Holland. The year 2000 saw the beginning of renewed activity (festival, concert, etc.). 2002 also saw the band play their first performance in the United States in 28 years at NEARfest 2002. TOP CDs:
If I Could Do It All Over Again, I'd Do It All Over You (1970) / In The Land Of Grey And Pink (1971) / For Girls Who Grow Plump In The Night (1973)
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| KING CRIMSON - England (1969) |
| Many people mark the beginning of progressive rock in 1969 with the first album by KING CRIMSON. As noted, however, the “germs” of prog were present since at least 1967. The BEATLES, PINK FLOYD, MOODY BLUES and PROCOL HARUM had “prepared” the way between 1967 and 1969. In 1969, a young English group, only together for a few months, gave us the album “In the Court of the Crimson King” (1969). The music had a dark, majestic, sometimes chaotic quality. Founded by guitarist Robert Fripp, the group underwent many personnel changes over the years. Some of the notable musicians who played with the group at one time or another include Greg Lake, Bill Bruford, John Wetton, Adrian Belew and Tony Levin. On the side, Fripp entered into numerous collaborations, including with Brian Eno, Peter Gabriel and David Bowie, in addition to leaving several solo albums. TOP CDs:
In The Court Of The Crimson King (1969) / In The Wake Of Poseidon (1970) / Lizard (1970)
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| GENESIS - England (1969) |
| Before changing itself into a “pop-rock” group in the early to mid-1980s, GENESIS was one of the most highly beloved, even “worshipped” progressive bands. The group entered its “golden age” in 1971, when drummer Phil Collins and guitarist Steve HACKETT joined founders Peter GABRIEL (vocals, lyrics), Tony BANKS (keyboards) and Mike RUTHERFORD (bass). The music of the group became highly melodic and theatrical, propelled primarily by Peter GABRIEL’s unique lyrics and theatrics, and Tony BANKs’ keyboards, particularly the heavy use of mellotron. GENESIS was arguably one of the two or three most influential progressive rock groups, and that influence is likely to be felt for a long time. TOP CDs:
Nursery Cryme (1971) / Foxtrot (1972) / Selling England By The Pound (1973) / The Lamb Lies Down On Broadway (1974)
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| VAN DER GRAAF GENERATOR - England (1969) |
| I am far from being an expert on this group. However, it would be difficult to omit them if only for their album “Pawn Hearts,” which I know well. VDGG is not the best-known of groups, but “Pawn Hearts” is not only worth listening to but also historically significant. Peter HAMMILL, singer and lyricist of the group, has a unique voice, one which was an influence for several later prog vocalists. His lyrics border the depth of literature, while his music, epic in nature, benefited from the band’s original arrangements. “Pawn Hearts” also features piano, keyboards and saxophone, as well as guitar work from KING CRIMSON founder Robert FRIPP. Their sound (already unique because driven by saxophone and keyboards, guitars and drums) cannot be easily related to the archetypes of folk, blues, rock or jazz, despite the fact that it contains elements of all. TOP CDs:
H to He, Who Am the Only One (1970) / Pawn Hearts (1971) / Godbluff (1975) / Still Life (1976)
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| YES - England (1969) |
| Along with GENESIS, YES is another of the two or three most influential progressive bands. The “golden age” of YES began in 1971 (around the same time as that of GENESIS), with the line-up of Jon ANDERSON (vocals, lyrics), Chris SQUIRE (bass), Steve HOWE (guitar), Bill BRUFORD (drums) and Tony Kaye (keyboards). However, it was not until Tony Kaye was replaced by keyboardist extraordinaire Rick WAKEMAN in 1972 that YES reached its peak. At that point, YES was comprised of perhaps the most versatile, virtuoso musicians in the history of progressive rock. TOP CDs:
The Yes Album (1971) / Fragile (1972) / Close To The Edge (1972)
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| The STRAWBS - England (1969) |
| This well-known group’s Progressive rock of the early ‘70s, The STRAWBS differed from their more successful compatriots – The MOODY BLUES, KING CRIMSON, PINK FLOYD. Their sound originated to a more traditional British folk style blended with enough rock to form their unique style,. They have recorded over 15 albums through the years, with various line ups around the core of Dave Cousins, who is the main driving force in the band and main songwriter. He has also released a couple of excellent solo albums. The STRAWBS most interesting period began with “Grave New World”, and ended “Ghosts”, the best probably being “Bursting At The Seams”. They were also known as the first band to feature the keyboard playing of Rick WAKEMAN. You can be from now on heard and seen on “Classic Rock Legends”, a DVD from the eponymous label.
TOP CDs:
From The Witchwood (1971) / Grave New World (1972) / Hero And Heroine (1974) / Ghosts (1975)
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| LE ORME - Italy (1969) |
| Italy produced several excellent progressive rock groups during the 1970s, and then again in the 1990s. LE ORME is one of the oldest and best known. Created by bass player Aldo Tagiapietra, keyboardist Toni Pagliuca and drummer Mike Dei Rossi, the band reminds of Seventies groups built upon keyboards parts (RARE BIRD, THE NICE, ATOMIC ROOSTER…) and even BANCO DEL MUTUO SOCCORSO due to the Italian vocals. The group stayed together during the 1970's, by which time they'd evolved into an EMERSON, LAKE & PALMER-type progressive rock band, cutting four albums in that vein. Re-formed as a quartet (keyboards-sitar, bass, keyboards and drums) and with a guest guitarist for “Il Fiume”, LE ORME goes back to what they do best: same elaborated symphonicism with a classical touch, same enhanced lyricism and same developments of complex, delicate themes with loads of breaks, dreamy or nostalgic ambiences. The group still records, and recently released “Elementi” (2001) and “L’Infinito” (2004). As for “Elementi” (2001), it proves to be one of the best albums by Le ORME ever!!! TOP CDs:
Felona & Serona (1973) / Contrapunti (1974) / Elementi (2001)
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| RENAISSANCE - England (1969) |
| Rising from the ashes of The YARDBIRDS (the group which also spawned LED ZEPPELIN) in 1969, the band went though several membership changes, with Keith Relf and his sister Jane (who later fronted the very RENAISSANCE-like ILLUSION) existing and McCarty all but gone after 1971. In this incarnation they recorded two albums but never quite made it, despite some success on England’s campus circuit. The new lineup formed around the core of guitarist Michael Dunford, bassist Jon Camp, keyboardist John Tout, and Terry Sullivan on drums, with classically-trained vocalist Annie Haslam (an aspiring singer with opratic training and a three-octave range) and lyrics by poetess Betty Thatcher, fused classical and rock formats to make some of the most beautiful and touching songs in the prog-rock/folk genre. By the late 70s progressive folk-rock was a dying breed and the band found the music world around them evolving into the punk and new wave booms. TOP CDs:
Ashes Are Burning (1973) / Turn Of Cards (1974) / Scheherezade And Other Stories (1975) / A Song For All Seasons (1978)
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| EMERSON, LAKE & PALMER - England (1970) |
| EMERSON, LAKE & PALMER qualifies as a “super-group”; a band comprised of musicians who were initially known as members of prior bands. Keyboardist Keith Emerson was a member of the group THE NICE, which was known for its fantastic scenic performances. Greg Lake was the original bass player and vocalist for KING CRIMSON, after which he met Emerson and they explored the idea of creating a new group. Carl Palmer was the drummer for several groups, most notably ATOMIC ROOSTER. The music of EMERSON, LAKE & PALMER is heavily influenced by classical music; indeed, in addition to its original compositions, the band interpreted and arranged many classical masterpieces for progressive rock instrumentation. The sound of the “Moog” synthesizer – of which Emerson was one of the pioneers – is one of the major components of the group’s sound. The band was also know for its theatrics, including Emerson stabbing his Hammond organ. TOP CDs:
Emerson, Lake & Palmer (1970) / Tarkus (1971) / Trilogy (1972) / Brian Salad Surgery (1973)
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| GENTLE GIANT - England (1970) |
| A unique group, extremely under-appreciated even by many progressive rock fans. The music of GENTLE GIANT is a very complex mixture of traditional rock and “medieval” style music, with bits of classical, jazz and folk, and often features intricate, extremely complicated instrumental and vocal arrangements which can frighten many neophytes. TOP CDs:
Gentle Giant (1970) / Three Friends (1972) / The Power And Glory (1974) / Free Hand (1975)
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| HAWKWIND - England (1970) |
Over their 30-odd year history, HAWKWIND were probably the most famous underground rock band in the world. The group was formed in the late '60s by guitarist/singer Dave BROCK, guitarist Mick SLATTERY and saxman/flautist/singer Nik TURNER. Dave BROCK was the leader of HAWKWIND and he was the captain, as it were. The band never would have made it for 30 years without Dave.
HAWKWIND's history has been marked by a series of confusing line-ups through 40 or so personnel changes. Their sound has continued to metamorphose and evolve: an almost jazz feel ("Hawkwind"), the "experimental" & acoustic sounds of early releases ("In Search Of Space"), changing to the metal sound of their days (mid 70's), and a modern electronic feel on the latest ("Electric Teepee"). Yes, one can detect definite evolutions. With the primary use of the synthesizer, heavy and delay with the touch of techno, HAWKWIND practically created a genre of music that be called: psychedelic space-rock. Their creativity seems to be in the use of the synths to add to the intense moods of their songs. They were the master of the acid-space rock genre. TOP CDs:
In Search Of Space (1971) / Hall Of The Mountain Grill (1974) / Warrior On The Edge Of Time (1975) / Leviation (1980)
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| SUPERTRAMP - England (1970) |
| A variant of progressive rock that some have called sophisto-rock. SUPERTRAMP is a sophisticated pop band that was able to continuously turn out very good songs as "Crime Of The Century" & "Dreamer". They were unique and derivative and exciting and fun. Those first couple of albums were a nice escape from the sometimes passionless ness of prog rock. Their music has been described as whimsy, lighthearted, fluff and a million other variations on this theme. Other thing is that they also have the ability to inject some humor into their music now and then. With over 18 million copies to date, "Breakfast In America" is one ot the greatest melodic pop/rock albums of the seventies. After that album, SUPERTRAMP continued to develop a more R&B-flavored style. TOP CDs:
Crime Of The Century (1974) / Crisis? What Crisis? (1975) / Even In The Quietest Moments.... (1977) / Breakfast In America (1979)
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| ELOY - Germany (1971) |
| A GROUP TO TRAVEL IN TIME - A PAST VERY PRESENT.
ELOY has the history to claim a place at the top of the progressive and “Germanic” hierarchy (which is a somewhat confused period). The longevity of ELOY we owe to guitarist Franck Bonermann, the man with the beret who has orchestrated the destiny of ELOY since 1971. Any doubts about the continued viability of the band were dispelled by the release of the marvelous “Ocean 2” (1998). On it, past and present were joined together in a marriage of top-notch symphonic and echo-electronic, paving a new future, and perhaps leading to a renewed success. ELOY can be considered to the land of Goethe what PFM, LE ORME or BANCO are to Italy. TOP CDs:
Dawn (1976) / Ocean (1977) / Silent Cries And Mighty Echoes (1979) / Ocean 2 (1998)
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| PREMIATA FORNERIA MARCONI (PFM) - Italy (1972) |
| PFM is without any doubt the best-known Italian progressive rock group. Their music is influenced by GENESIS and ELP, and is enriched by the use of violin, which creates something of a “signature” sound. In an effort to reach more people (particularly the English-speaking British and Americans), the group was persuaded to “remake” two of the albums of 1972, with English lyrics and vocals. Pete Sinfield (lyricist for KING CRIMSON, among others) was given the responsibility of writing, rather than translating, lyrics for “Photos of Ghosts.” From the musical point of view, some of the arrangements are different than the original Italian release. I prefer the Italian versions of the songs. These albums are available in a remastered box version through BMG Italy at a reasonable price. TOP CDs:
Storia Di Un Minuto (1972) / Per Un Amico (1972) / Photo's Of Ghosts (1973)
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| BANCO DEL MUTUO SOCCORSO (BDMS) - Italy (1972) |
| Often compared with EMERSON, LAKE & PALMER, or GENESIS in their better period, BANCO were undoubtedly the greatest of all the Italian progressive rock bands in the mid 70s. Their sound was influenced by folk themes, classical music, and the melodic experimental British bands of the time, i.e. early GENESIS, the NICE, and others. The first three BANCO releases are definitely classics, with a strong baroque feel, dual keyboards tapestry of the brothers Nocenzi, extremely complicated arrangements, and a strong vocal presence. BANCO is a model of sophisticated rock, still playing in the 2000's with the same enthusiasm they had thirty years before. ESSENTIAL to any serious progressive rock collection. TOP CDs:
Banco Del Mutuo Soccorso (1972) / Darwin (1972) / Io Sono Nato Libero (1973) / Banco (1975)
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| CAMEL - England (1973) |
| If JETHRO TULL is the embodiment of Ian ANDERSON, then CAMEL is the embodiment of guitarist Andy Latimer. The group’s music is heavily jazz-influenced, and comprises long, melodic instrumental flights. CAMEL is one of the “headline” groups of progressive rock, and is more or less affiliated with the “Canterbury” school of prog. Clearly influenced by this style when they started (Early Seventies), the band followed the path of CARAVAN, before developing its own personality. The group continues to record, with a new keyboardist and a French-Canadian drummer. TOP CDs:
Mirage (1974) / The Snow Goose (1975) / Dust And Dreams (1991) / Harbour Of Tears (1996)
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| RUSH - Canada (1974) |
| RUSH is a Canadian “power trio” formed in the mid-1970s. RUSH’s discography is one in which albums are done in cycles of three, in which the group develops a different style and approach for each one. This began with “Caress of Steel” (1975) and “2112” (1976), with which the group’s career took off. However, it was the release of the third album in this cycle - “A Farewell to Kings” (1977) – that showed the band’s increasingly progressive approach. But the best was yet to come. With “Hemispheres” (1978), RUSH found enormous worldwide success, and became a progressive band to be reckoned with. TOP CDs:
2212 (1976) / A Farewell To Kings (1977) / Hemispheres (1978)
To follow... THE SECOND WAVE (1980 to 1989) |
The END OF the FIRST WAVE
You will undoubtedly note that all of the groups listed above as “first wave” appeared prior to 1975. Like all new “fashions,” progressive rock was largely abandoned in favor of a new “flavor of the month,” in this case “punk rock.” It was part of a natural cycle of change, in that progressive rock groups became commercially “excessive”: they started making increasingly ambitious albums, which were in many cases less “listenable” to the general public. In addition, the egos of the musicians sometimes became a factor, and fans wearied of this. From 1975 on, progressive rock went into a steep decline, which made it all but disappear for several years. Indeed, not only did it decline, but it was actively disavowed and discredited by many in the professional music scene. However, progressive rock was vindicated when its virtuosity, complexity and imagination overrode the mediocrity, simplicity and “harsh reality” of “punk.” At the beginning of the Eighties, some veteran and many new musicians created a second wave of progressive rock that continues in one form or another to this day.
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3- SECOND WAVE (1980 - 1989)
The Silver Age (neo-progressive or the prog of the new wave)
The late Sixties and early to mid Seventies saw the birth and golden age of progressive rock, but also its ultimate rejection, denigration and “exclusion.” Yet in spite of the “punk” tidal wave of 1977, certain progressive rock groups persisted in producing prog rock “in the shade”: in a marginalized fashion. Other groups (GENESIS, YES) changed their “sound” in order to remain “current” (i.e., “commercial,” though not always “bad”), and in doing so ended up with even more success than they achieved during their early years. Certain veteran musicians of the progressive scene even created new “supergroups” (ASIA) incorporating both progressive and more “commercial” elements. Others, like KING CRIMSON, continued to make strictly “progressive” music, but leaving aside some of the more “symphonic” elements. This decade also saw the considerable influence of RUSH, which had successfully merged progressive and commercial elements to become a true super group.
Despite the rejection of progressive music by the critics (and by much of the public), at the beginning of the Eighties some young musicians seemed eager to “buck the tide” and create truly progressive music. Among these new groups, only MARILLION, IQ and PENDRAGON saw any real measure of success. However, along with the success of YES’ “Drama” in 1980, although the “second wave” of progressive music was short, it proved that progressive music had not died, and that there was indeed an audience out there that wanted it.
Neo-Progressive or the new progressive wave:
If the definition of “progressive rock” remains vague and unfinished, the definition of neo-progressive is as much if not more so, particularly because the very term is used in various ways. Some use the term “neo-progressive” to describe the music of the groups of the “second wave” – “neo-progressive” being used here to denote the direction of the “new progressive wave.” This use can certainly be defended. After all, although strongly inspired (and often influenced) by the pioneers of progressive rock, the music of the “neo-progressive” groups has clear differences. Still, some consider this use of the term “neo-progressive” to be “belittling,” even pejorative. Some believe that only progressive rock produced in the Seventies is worthy of the appellation “progressive.” I believe this to be not only narrow - distorting what makes “progressive” rock progressive – but also divisive. Indeed, some of these people use the term “neo-progressive” to disparage the music of later progressive groups whom they do not like.
Here are some of the new groups who made progressive rock in the Eighties, and who deserve serious attention. 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!]
| RUSH - Canada (1974) |
| Although they had already established themselves as a progressive group to be reckoned with in the Seventies, beginning in 1980 power trio RUSH released three significant albums that showed a significant evolution in their style (“Permanent Waves,” “Moving Pictures,” “Signals”), from a “stricter” progressive style to a more “commercial,” yet still clearly progressive, sound. In this way, RUSH essentially “re-invented” itself for the Eighties as a neo-progressive group, maintaining its effectiveness as a “progressive” group, while at the same time making its approach more “concise” and “available.” As an aside, RUSH’s album covers during this period were designed by the excellent Hugh SYME. TOP CDs:
Permanent Waves (1980) / Moving Pictures (1981) / Signals (1982) To follow... THE THIRD WAVE (1990 to the PRESENT) |
| MARILLION - England (1982) |
| Originally founded by drummer Mick Pointed as SILMARILLION in 1978, guitarist Steve Rothery joined in 1979, and vocalist/lyricist Fish joined in 1980, renaming the band MARILLION. The group wrote material and played live for a full two years – testing its material - prior to releasing its first studio album in 1982. Although clearly “progressive” in its use of various progressive elements, the music was more “accessible” than “strict” prog. In this regard, the term “neo-progressive” could arguably first be applied to MARILLION. The band’s strongest influence is GENESIS, and many neophytes considered MARILLION a “clone” of GENESIS. At first listening, Fish does approach his vocals in a style similar to Peter Gabriel. However, his voice is more “muscular.” Mick Pointer left the group after the first album (and would later help found ARENA during the “third wave” of the Nineties), and was replaced by Ian Moseley. In 1988, Fish left the group (after four studio albums), and was replaced by Steve Hogarth. Since the departure of Fish, the group’s sound has changed, and the group has both lost old fans and gained new ones as a result. TOP CDs:
Script for a Jester’s Tear (1983) / Fugazi (1984) / Misplaced Childhood (1985) / Brave (1994) / Marbles (2004)
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| IQ - England (1983) |
| After MARILLION, IQ is the group that achieved the most success during the “second wave,” but this success was admittedly more modest. Like other groups of the “second wave,” IQ was initially known for its spectacular performances. The group’s first studio album was released in 1983, and presented a clearly “neo” sound, with influences including GENESIS. The original vocalist of IQ, Peter Nichols, left in 1985, but returned in 1993 with the album “Ever,” which proved that the group was ready to take its rightful place in the “third wave” as well. TOP CDs:
Tales From The Lush Attic (1983) / The Wake (1985) / Ever (1993) / Subterranea (1997) / Dark Matter (2004)
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| PENDRAGON - England (1984) |
| Founded in 1981, PENDRAGON released its first album in 1984 with musicians Nick Barret (vocals/guitar), Peter Gee (bass), Fudge Smith (drums) and Cleaves Nolan (keyboards). And although the group saw some minor success during the “second wave,” it was not until the beginning of the Nineties, during the “third wave,” that the group really made its name. The music of PENDRAGON is easily recognizable: long instrumental sections, often with a “majestic” (and, to some detractors, pompous) sound. The group’s major influenced are GENESIS and PINK FLOYD. TOP CDs:
The Jewel (1985) / The World (1991) / Window of life (1993) / The Masquerade Overture (1996) |
The END of the SECOND WAVE
The Eighties were not a happy decade for the new creators of progressive rock. Some of the pioneers of progressive rock, and a handful of neo-progressive groups, survived the storm, but often at the price of significant changes in personnel and/or, far more significantly, modifying their style in order to please the public. Yet certain neo-progressive groups would create their major works in Nineties, and even into the new millennium. Two examples are PENDRAGON, whose major work, “Masquerade Overture,” appeared in 1996, and IQ, whose “Dark Matter” appeared in 2004.
Now let’s see how the “re-birth” of progressive rock – the “third wave” - came from perhaps the most unlikely of places: metal rock.
4- THE THIRD WAVE (1990 - The Present)
Hard Re-birth... Then Gaining!
New "Progressive Metal": Resurgence, or Revival?
1. RE-BIRTH…HARD, THEN GAINING!
In the Nineties and through the present, the progressive spirit returned again. Part of it came from groups who had begun in the “second wave,” but did not truly “find their feet” until the “third wave.” For the most part, these groups (including PENDRAGON and IQ) were influenced by some of the “pioneer” bands of the late Sixties and early Seventies, particularly GENESIS and PINK FLOYD.
Another part of the progressive “revival” of the Nineties came from new groups whose influences also came from some of the pioneer groups (including GENESIS, PINK FLOYD, ELP and GENTLE GIANT). Chief among these new groups were PORCUPINE TREE, ARENA, FLOWER KINGS and SPOCK’S BEARD.
Here are some of the new groups who were part of the “rebirth” of progressive rock in the Nineties, and who deserve serious attention. 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!]
| PORCUPINE TREE - England (1989) |
| Unique among the “third wave” progressive bands, PORCUPINE TREE (PT) was created to satisfy interest about the “legendary Porcupine Tree,” which started as a solo project of singer/guitarist Steve Wilson, who worked as both musician and engineer on various projects. He also performed with NO-MAN (with singer Tim Bowness), BASS COMMUNION, and I.E.M., as well as making contributions to MARILLION, FISH, CIPHER and OPETH. Recently, he formed a duo project, BLACKFIELD, with Israeli singer Aviv Geffen. Embracing and exploring prog rock elements, PT has created some noteworthy albums over the years, continuing full-strength into the new millennium. Its stylistic changes through the years reflect how Wilson positioned PT relative to other projects. In essence, PORCUPINE TREE is a blend of PINK FLOYD, RADIOHEAD (old), GENESIS, KING CRIMSON and ELP. In my opinion, PORCUPINE TREE’s music is absolutely essential prog. TOP CDs:
The Sky Moves Sideways (1995) / Stupid Dream (1999) / Lightbulb Sun (2000) / In Absentia (2002) / Deadwing (2005)
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| The FLOWER KINGS - Sweden (1995) |
| Formed in 1993 by veteran singer/guitarist/composer Roine Stolt (ex-KAIPA), FLOWER KINGS has gone on to become not only one of the most prolific studio recording bands in any genre, but one of the leaders of the current symphonic rock movement. In ten years, they have released an album almost every year, sometimes including double-CDs with extended playing times. FLOWER KINGS’ music is perhaps best described as “symphonic” (i.e., influence from YES and GENESIS), but with some “jazz” overtones (influence from CAMEL). Roine Stolt is the primary composer for FLOWER KINGS, with some contributions by keyboardist Tomas Bodin. Good “starting points” for listeners would be “Back in the World of Adventures,” “Retropolis” or “Space Revolver.” Keeping himself busy with numerous jaunts around the world, Roine Stolt recorded two albums with new “supergroup” TRANSATLANTIC (2000 and 2001), which features bassist Pete Trewavas (MARILLION), keyboardist Neal Morse (SPOCK’S BEARD) and drummer Mike Portnoy (DREAM THEATER). TOP CDs:
Back In The World Of Adventures (1995) / Retropolis (1996) / Flower Power (1998) / Space Revolver (2000)
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| ARENA - England (1995) |
| One of the dominant neo-progressive groups of the Nineties, ARENA features former members of MARILLION (drummer Mick Pointer) and PENDRAGON (keyboardist Clive Nolan). Despite being plagued by virtually constant personnel changes, ARENA have managed to maintain a successful career. With influences including GENESIS, PINK FLOYD and MARILLION, ARENA is undoubtedly one of the most underrated bands on today’s progressive scene. TOP CDs:
Songs From The Lion's Cage (1995) / The Visitor (1998) / Immortal (2000) / Contagion (2002)
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| SPOCK'S BEARD - USA (1995) |
| SPOCK’S BEARD “sprang full-grown from the head of Zeus” when it burst on the scene with its smashing debut album, “The Light,” in 1995. The driving force behind SPOCK’S BEARD was multi-instrumentalist and composer Neal Morse (who left the band in 2003). The band is prolific, having released 17 albums in only 10 years, including two live albums. The band’s chief influences include GENTLE GIANT, YES and GENESIS, and their music is a splendid door into the world of “prog rock,” as it is both clearly progressive, and yet highly listenable. Neal Morse is also a member of the super group TRANSATLANTIC - which also features guitarist Roine Stolt (FLOWER KINGS), bassist Pete Trewavas (MARILLION) and drummer Mike Portnoy (DREAM THEATER) – and also sang on AYREON’s “The Universal Migrator Part One: The Dream Sequencer.” TOP CDs:
The Light (1995) / V (2000) / Snow (2002) |
2. NEW PROGRESSIVE METAL – RESURGENCE OR REVIVAL?
Progressive metal enjoyed a renaissance in the late Eighties and early Nineties, with bands like QUEENSRYCHE, FATES WARNING and DREAM THEATER.
If you know these bands, then you are familiar with “progressive metal.” If you are not, then note that “progressive metal” combines “heavy metal” elements (including raw power, speed and dynamic rhythmic passages) and “progressive” elements (including shifting time signatures, “symphonic”-style keyboards, and extended, thematic compositions). The degree to which these elements are used varies from group to group. However, all of these groups have some common elements, including virtuoso musicianship, highly melodic styles, a definite role for synthesizers, and extended instrumental passages which include often breath-taking guitar solos. Because “progressive metal” is both a “search” for a new sound, and yet incorporates elements of that new sound, it is often difficult to describe it, or compare it with anything.
Yet another, large part of the progressive “revival” of the Nineties came from one of the least likely of places: metal rock. Indeed, “progressive metal” has become not only commercially viable, but enormously successful. Although many of these bands (including DREAM THEATER, AYREON and PAIN OF SALVATION) have influences that include some of the pioneer bands, there is little question that their primary influence was RUSH – which itself had yet another “revival” of its own in the Nineties.
RUSH – Canada (1974)
3 Musicians, 3 Albums per Cycle, 3 Decades
Combining progressive elements (YES, ELP) and “straight” hard rock/metal elements, RUSH are, consciously or not, almost unquestionably the founders, or at least a primary progenitors of “progressive metal.” Indeed, almost every “progressive metal” band playing today names RUSH as their primary influence. RUSH began in the mid-Seventies with a rock-cum-progressive-rock sound (“Caress of Steel”). In the late Seventies, their sound changed to solid progressive rock (“Hemispheres”). In the early Eighties, their sound became “hard rock progressive” (“Permanent Waves,” “Signals”). It was this sound that many of the “third wave” groups picked up on.
Ten years later (1992), DREAM THEATER released “Images and Words,” which became the “launching pad” for the new “progressive metal,” and much of the “third wave” of the Nineties. However, due to record company legalities and other factors, this “resurgence” of progressive rock via “progressive metal” was more noticeable in Europe and Japan than in the U.S. Indeed, some of the bands that came out of this resurgence are only now being imported into the U.S.
Of the truly important “progressive metal” bands, DREAM THEATER stands above the rest. And with the 1999 release of “Scenes From A Memory” – a concept album masterpiece – DREAM THEATER cemented its place in progressive rock, and brought it screaming into the new millennium. In a more melodic and symphonic vein, PAIN OF SALVATION is another top progressive metal group. Finally, AYREON (founded by ex-VENGEANCE multi-instrumentalist Arjen Lucassen) is one of the great groups of the neo-progressive scene, making use of the talents of many excellent prog musicians.
Today, progressive metal is unquestionably the genre in which amateurs have the most hope of achieving commercial recognition and success, without compromising artistic integrity. And yet the progressive movement remains in flux: although progressive metal is currently the main “channel” through which progressive music is being directed and heard, there are other, “fringe” things happened in progressive music which could either trickle into the scene or burst upon it.
Here are some of the new groups who made “progressive metal” a force to be reckoned with, and are helping to keep progressive music alive in the new millenium. 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!]
| DREAM THEATER - USA (1989) |
| As noted above, perhaps the most important progressive metal band is DREAM THEATER, which is comprised of five prodigious classically-trained musicians: James LaBrie (vocals), John Petrucci (guitar), Jordan Rudess (keyboards), John Myung (bass), and Mike Portnoy (drums). The music combines hard rock rhythms, melodic lines, and progressive developments and arrangements. Lyrics range from poetic to abstract to gothic. Their influences – which have been synthesized into a powerful, dramatic presentation – include the heavier sounds of RUSH, IRON MAIDEN, METTALICA combined with progressive elements of bands such as PINK FLOYD, KING CRIMSON and YES. DREAM THEATER has developed and built on this formula for 17 years, have sold millions of albums in the U.S. and Europe, and sell out every tour. Their second album, “Images and Words” (1992), is considered by many a “reference point” for progressive metal, a sort of “heavy metal” counterpart to what YES’ “Close to the Edge” is for many progressive rock fans. TOP CDs:
Images & Words (1992) / Awake (1994) / Scenes From A Memory Metropolis Part II (1999) / Train Of Thought (2003) / Otavarium (2005)
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| AYREON - Netherlands (1995) |
| Between 1984 and 1992, Dutch multi-instrumentalist, composer and singer Arjen Lucassen released 4 albums with VENGEANCE before that band’s break-up. In 1994, his dream project – AYREON (not actually a band name, but a title for a series of rock opera projects) – was born, and released its first album, “The Final Experiment,” the following year. Since then, AYREON has released six more albums, though AYREON remains largely unknown to the general public. Lucassen also got involved in other projects, including STAR ONE’s “Space Metal” (2002) and another band-oriented outfit, AMBEON. 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 change 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 to lovers of Hard progressive and strong melodies TOP CDs:
The Final Experiment (1995) / Into The Electric Castle (1998) / Universal Migrator Part I & Part II (2000)
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| PAIN OF SALVATION - Sweden (1997) |
| Formed by singer, guitarist and songwriter Daniel Gildenlow (ex-REALITY), PAIN OF SALVATION 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). PAIN OF SALVATION always pushes the limits of progressive metal with gothic tendencies, and falls somewhere between FATES WARNING’s “Parallels”/”Inside Out” stage, early GENESIS and PINK FLOYD. Year after year, album after album, their music changes little by little, getting closer and closer not only to classic “progressive,” but claiming a unique place in the progressive genre. TOP CDs:
The Perfect Element Part I (2001) / Remedy Lane (2002) / Be (2004) |
THE END OF THE THIRD WAVE ...
Today, “progressive rock” lives primarily in groups like England’s PORCUPINE TREE, Sweden’s FLOWER KINGS and PAIN OF SALVATION, and the U.S.’s SPOCK’S BEARD and DREAM THEATER. Groups like RADIOHEAD, GODSPEED YOU BLACK EMPEROR, NINE INCH NAILS, OPETH and SIGUR ROS are new bands which have embraced progressive elements in an effort to create their interesting music.
However, there are still flourishing (if largely “underground”) progressive scenes in Western Europe (England, Italy, Holland), Eastern Europe (Hungary, Poland), the U.S., Canada, South America and Japan, with concerts, magazines and distributors providing much-needed support for these groups and the genre in general.
C- CONCLUSION
Since the advent of the INTERNET – 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 that 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 the 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!
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| D- AN ANALYSIS OF PROGRESSIVE ART:
Progressive music albums can often be identified by the superb artistic images used on the album (CD) covers. Many of these images invoke science fiction or fantasy (in particular the work of J.R.R. Tolkien), but almost all of them have one thing in common…they invoke a “dream.” Note that the “rules” regarding “progressive rock” stated above are general, and primarily concern only one period: the Seventies. | The Art of Rodney MATTHEWS
For thirty years the unique sci-fi and fantasy creations of master illustrator Rodney Matthews have been published world-wide on record album covers, books, posters, calendars, video games and more recently the TV screen with his Lavender Castle series.
GLASS HAMMER - "The Middle-Earth Album" (2001)  This mainly fantasy artist has tied his name to the covers of many progressive rock
performers (ASIA, ELOY, WAKEMAN, amongst others). |
| Roger DEAN | Kim POOR | Wojteck SIUDMAK | | 
Probably the most famous graphic artist in prog history. Better known for his YES album covers, he has also designed jackets for GREENSLADE, URIAH HEEP, BADGER and AD INFINITUM among many others.
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Almost every Steve HACKETT album cover features artwork by his Brazilian wife Kim. Early GENESIS lyrics inspired much of her work, collected in a book of lithographs, watercolours and oils (among other media).
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The surrealistic cover art for ELOY's album "Ocean" is a perfect example of this artist's highly imaginative style, influenced by both mythology and science-fiction.
| | Paul WHITHEAD | Mark WILKINSON | Simon WILLIAMS | | 
His name immediately recalls the first GENESIS album covers as well as those of VAN DER GRAAF GENERATOR; he also designed album covers for Tom FOGERTY and Le ORME. | 
He provided the artwork for all of MARILLION’s album (FISH era), then pursued with FISH's own solo albums. The familiar “Jester” is a famous Wilkinson creation.
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Another artist associated with a particular prog band: PENDRAGON. His intricate and magical designs also adorn Mike Batt's albums as well as the "Classic Christmas" compilation album.
| PROG ART:
The Art of Mattias Norén
Mattias Norén is known for his artwork designs for EVERGREY, LOST HORIZON, STAR ONE and many other bands. Each project captures the mood/story of the album, and there is a definite 'look' to Mattias' artwork that has a dreamy, surreal quality. He started his own company ProgArt Media recently. Once you log into the site you'll see the most recently finished project, but be sure to click on 'CD Artwork' to see his past work. It is often said that a picture is worth a thousand words. Given this, one could, by extension, state that an audio extract is worth a thousand words as well. This brings us to the “empirical” means of recognizing the various sub-genres, and the artists in those sub-genres, by the elements used in the composition, arrangement and production of the music. “Progressive rock is a music made for the dream, the escape,
to feel a multitude of emotions.” Listen to this compilation of mp3s joining together the parts which,
each one in their own way, carry the torch of progressive rock. HAPPY LISTENING…and HAPPY DISCOVERIES! |
FANTASY THEMES IN PROG ROCK MUSIC
Jeff Gardiner waxes lyrical on the prevalence of fantasy themes in Prog Rock music.
"I particularly want to explore Progressive Rock, which continues to provide some of the most fantastical as well as intelligent ideas in music today. Progressive Rock is a particular sub-genre that explores moods, emotions, textures and themes with a more cultured and experimental style. Many Prog Rock bands, such as HAWKWIND, GENESIS and YES, released concept albums in the 1970s that explore fantasy and mythical realms to show the psychological or spiritual responses to heightened emotional experiences or altered states of consciousness. HAWKWIND and YES are still going strongly to this day."
http://www.progarchives.com/prog/1967-2004v1.html
George Roger Waters (born 6 September 1943) is an English rock musician; singer, guitarist, bassist, songwriter, and composer. He is best known for his 1965–1985 career with the band Pink Floyd (he was credited as their main songwriter, after the departure of Syd Barrett), bass player and one of their lead vocalists (along with David Gilmour and, to a lesser extent, Rick Wright). He was also the lyrical mastermind behind many of the band's concept albums, especially The Dark Side of the Moon, Wish You Were Here, Animals, The Wall, and The Final Cut, and their well known symbols including the Pink Floyd pigs and the marching hammers.
