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The progressive rock undergoes the absence of a clear definition. All the rock is considered “progressive” that from the Seventies (concretely from end of the Sixties) looked for new artistic goals. The value of the rock is relativized, putting at issue not only the goals, but also the musical quality. Thus a spontaneous movement as of 1968 is born (revolutionary year in the World) in small, disordered and isolated manifestations that soon were more massive and successfully popular. At the outset it was a fusion of the rock with classic music, due to the high musical formation of these composers. But their origins are in the psicodélico rock of the sixty, with Pink Floyd like great example. Pink Floyd went more and more making serious after the exit of Syd Barret at the beginning of 1968 (Barret had been its leader at the outset). Many thought that without Barret the group was dead, since he had been his main composer, and thanks to its outlandish personality the first album of the group, Piper AT the Gates of Dawn (1967), became one of the best albums of sicodélico rock. Whereas the commercial success arrived with Dark Side of to them the Moon (1973), which continues being more one of the sold albums for all time, Piper AT the Gates of Dawn was one of its more innovating albums.
Otros British groups key of end of 60s were: The Machine Soft, who incorporated jazz and dadaísmo in their sicodélico heavy rock; Procol Harum, whose melodías had much classic influence; The Nice, that honored by its tecladista virtuoso Keith Emerson; The Pretty Things, whose opera-rock S.F. Sorrow preceded by a year to Tommy de The Who; and Jethro Tull, whose long musical epics had much influence of English folkloric music. But the first group was The Moody Blues that combined the rock with symphonic classic music in its Days album of Future Passed of 1967. What began being a pop one of quality gave rise to the base of the later movement.
Nevertheless is in 1969 when this diverse sort is developed when coming to the light albums of pioneering groups like King Crimson, YES or Genesis. There is confusion when wanting to subdivide the sort in other subgenera. The certain thing is that all have in common the search of new artistic goals, reason why the “progressive rock” is a guessed right generic denomination.
Pero although only outside 1970 beginnings, had marked subdivisions within the school of the progressive rock. Many of the groups more respected by the critical were grouped under the flag of the Canterbury sound; headed by The Machine Soft, these also included Caravan, Hatfield & The North, and derived from The Machine Soft like Soft Matching, Gong and the solists works of Robert Wyatt and Kevin Ayers. The music that these groups did was lighter than the one of the most successful exponents of the sort, and also they had often a sense of the humor that the famous groups were not arranged to show.
Más conceptualemente speaking, within the progressive sort several styles or tendencies are subscribed. It is spoken of “symphonic rock” when the musical structure either the instrumentation is polifónica or orquestal. The symphonic rock approaches the conception of classic music and all the musicians of this style are influídos by the classic geniuses.
El “psicodélico rock” is the “father” of the progressive one, because in the Sixties and in the heat of efervescencia of the phenomenon hippy, arises this onírica tendency, of chaotic composition, characterized by the experimentation and the improvisation (helped by the hallucinogenic drug ingestion) and of outlandish sound.
But as before it were indicated, it is in the musical period that goes from 1968 to 1970 when they form a formation which they change the artistic panorama. It is the appearance of the phenomenon King Crimson which truely impels to the sort. Although the critic nondoubt in that the Crimson - and concretely their leader Robert Fripp- is the pioneers personnels at hand, accepts itself that the progressive phenomenon must to the action of several groups. King Crimson, YES and Genesis, mainly, are those that register at that time the newness.
In the heat of success of masses of the rock, that already had evolved of the pop one of the sixty, takes place a significant fact that it marks the birth of the sort. So that not to mention as true it lards the performance of King Crimson in direct like teloneros of the Rolling Stones. In this concert, the public was overwhelmed, stupefied and astonished at the same time when listening how strangers who did of teloneros of “rockers” Stones, were revolutionizing music. Those spectators were those that were present at the key moment. The first disc of King Crimson sees the light - after a previous disc of its members, still without course in 1969. The album In the Court of the Crimson King gets to be a success of sales through mouth mouth, without advertising aid.
During the decade of years 70, the new technological progresses and the appearance of new instruments as mellotron and the sintetizadores opened new possibilities to the rock groups. In this time bands like Camel were born, Focus… with one more a more symphonic vision and the antecedents already created.
Impelled by the success of Crimson, the other groups that had a similar vision towards where the goals had to go artistic-musical comedies begin to also savor the glory. They are the times of Emerson, Lake & Palmer, Genesis, YES… and many more, than ever they sounded like at this time, without commercial aspirations.
Whereas the music of Pink Floyd was more austere, those of other groups like Emerson, Lake & Palmer, Yes, Jethro Tull and Genesis it used to be loaded of difficult instrumental parts that they executed virtuous musicians like Steve Howe, Rick Wakeman and Keith Emerson, but this pomposidad prevented them to write songs that could please a great public.
When the critical of this time deigned to analyze the progressive rock was touched much with Roxy Music, whose music was a pop species of ironic which Brian Eno ripened with sintetizador bursts. Brian Eno, after a short period with Roxy Music, left to follow a solista race and more and more made abstract recordings instrumental, which went for all time from the progressive rock more respectable to the vanguardistas recordings of rock; nevertheless, Eno totally left the rock at the end of 70s, but it continued working like producer with many musicians of rock.
Later a progressive rock came that was more than all intrumental. He is not surprising which many of the groups came from the European continent, and that used the instrumental format like a way to save the obstacle of the English, the frank language of the pop music. Kraftwerk of Germany had with Autobahn a surprise album in Top 10; its unfortunate electronic textures, as well as those of other groups German like Dog, Amon Duul, Faust and Tangerine Dream they gave birth to the school of the “Kraut Rock” (denominated thus by Virgin Records, that was the one that sent these groups to the international market), and many years later had a considerable influence in the groups of New Wave. Focus of Holland, that honored by its virtuous guitarist Jan Akkerman, Vangelis of Greece, and P.F.M of Italy also had international unfolding. And in the United Kingdom Mike Oldfield (who had touched guitar with Kevin Ayers) was an enormous international successful with his Tubular instruments Bells.
The 70 ' s is the time of gold, but quickly the movement decays until arriving almost at its disappearance. They are times of the punk, successful the pop music at that time. The main bands dissolve: King Crimson in 1975, after entering the myth. Genesis sees how its leader, Peter Gabriel, march in that same year. Its music dyes of comercialismo of hands of Phill Collins until being pop music. Groups like Electric Light Orchestra, Boston, Foreigner, Journey, Asia, Kansas and Supertramp became very popular incorporating to their pop/rock the most showy qualities to him of the progressive rock. YES, Camel, Atomic Rooster, Pink Floyd undergo different ruptures. The existence of many bands eclipsa with the presence and the work of these groups nails in the sort. It is an elite within an own elite. What is debatable is if that elite was exclusivist and excluding. The certain thing is that it is not necessary to have a great cultural formation to understand music of these geniuses, but one predisposicón, an attitude and an artistic taste that few have.
Camel makes a turn and also own YES music of or Crimson fall in commercial the electronic. These last ones had begun again: Fripp reunited to Bruford and to two new members. Tony Levin and Andrian Belew, being the germ of a magnificent time years later. Pink Floyd gains world-wide protagonism, still savoring the honeys of the success of The Wall.
The Nineties did not appear with good sensations by the sort. YES with the disc of significant title returned Union. King Crimson returns now for yes revitalizing itself and reinventar themselves. Camel and others follow with force, like Pink Floyd. But spent as much time from those sixty and seventy, the new ideas and the fresh minds bring the new generations, as it is logical.
This new boiling of ideas also gets to be a commercial phenomenon thanks to the sort of the “metal-progressive one” that, with groups like the Americans “Dream Theater” or “Symphony X”, influenced by the aggressiveness of hard rock of the eighty, becomes a movement of international success, as well as groups like “Radiohead” or “Tool”, which they base his music on the experimentation, also are today recognized anywhere in the world. But most excellent it is than these groups, along with others like “The Flower Kings”, “Sand”, “Transatlantic”, “Ozric Tentacles” or “Spock's beard” (that at the present time numerous tours by all America and Europe do), are only the part commercially more visible of a whole musical movement that count anywhere in the world with hundreds of bands, from the United States to Indonesia, that contributes some of the most original proposals today and than they interest to an ample and heterogenous public formed so much in lovers of the hard rock, like of the folk music, the jazz, techno, etc., and, really, of music in general.
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