From Ragtime to Rock

If the theory that music is either tribal or studied is correct, then the term progressive rock obviously designates a more studied, classical style of rock. In its original form, rock and roll was conceived as a sort of street rebellion against the restrictions and pretensions of established music genres. For example, Chuck Berry's "Roll Over Beethoven" was a definite nudge at so-called serious music. Later, The Beatles' "Sgt. Pepper" album dramatized rock's aspirations to legitimacy. The upstart now demanded the very respectability at which it once thumbed its nose. Rock's musical cauldron now contained a seemingly unbalanced mix of primitive and studied elements.

Much of the progressive rock movement began in Europe where classical training was often compulsory. The new sounds became more complex, more heavily orchestrated, moving precariously further away from rock. For example, The Moody Blues' late 1960's output could very well be conceived as electronic classical music with rock overtones. Synthesizers, mellotrons and occasionally full orchestras were utilized, the rhythmic nature of the music becoming somewhat suppressed.

Several groups were able to fuse jazz and classical elements, experimenting with various combinations in order to achieve a distinctive new sound. Led Zeppelin, a band with a heavy blues base, often set classical acoustic passages and blues/metal sections in juxtaposition. Zeppelin to that extent, could very well be considered heavy metal and blues rock as well as progressive rock. The classifications can become a tad murky after a while.

Other bands such as Jethro Tull and Genesis took a somewhat theatrical approach, incorporating performance art and Broadway traditions into their presentation. Sometimes older ethnic music forms were utilized as in the case of Jethro Tull, whose style owed much to ancient British folk music as well as blues and jazz. Many instruments previously alien to rock such as flutes and oboes were used to varying degrees of success.

Vocals became more adventurous and operatic, often choirlike as in the music of Yes and Queen. Both Jon Anderson and Freddie Mercury's considerable contributions to the art of progressive rock vocals cannot be overestimated.

By the mid 1970's, progressive rock had become so complicated and undanceable that it demanded the reception generally reserved for classical recitals. Many groups had lost much of their affiliation with rock, simply becoming electronic classical units. Much of the music came to be laborious and bogged down. To be succinct - it no longer rocked!

Some outfits like Queen later returned to their rock roots, once again injecting excitement and new life back into their sound. Unfortunately, many of the so-called "heavy" bands had become so entrenched in their complexities that it was impossible for them to sustain commercial interest. By the end of the decade, numerous groups had faded into obscurity, swamped by the popularity of disco and funk and the fury of punk and new wave.

One fascinating exception was The Moody Blues whose formula rarely changed and like The Grateful Dead, accumulated a widespread cult following. Others like Genesis continued to reform for tours to the delight of their fans. Often dismissed as dinosaurs by the younger generation, all of these artists are innovators of the highest calibre and giants in the field of experimental rock.

THE MOODY BLUES

PINK FLOYD

TANGERINE DREAM

PROCOL HARUM

THE NICE

EMERSON, LAKE & PALMER

LED ZEPPELIN

PETER GABRIEL

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BIBLIOGRAPHY