by Ronald Couture

(founder of Prog Archives)

http://www.progarchives.com
Quebec, Canada

Second edition 02-11-2008

1
All rights reserved. No parts of this publication may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or by any information storage and retrieval system without a written permission
from the author.

Essential Mini-Guide To Progressive Rock / Ronald Couture

02-11-2008 / Second Edition 2008

2
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
DEDICATION

THIS PROGRESSIVE ROCK GUIDE IS DEDICATED TO MY FAMILY FOR BEING AS ''REGRESSIVE''

AS ROCK MUSIC.
Acknowledgements:
Many people have contributed to the making of this mini-guide, without whom it would not have been possible. I would
like to express my deepest gratitude to them for their generous and invaluable editing assistance, advice and friendship.
For helping to make this second edition a reality, I am particularly indebted to:
Ian Alterman (USA)
Improved and adapted in English
Primary editor for First Edition
Bob McBeath (SCOTLAND) & Peter Rideout (CANADA)
Improved and adapted First Edition in English
Lisa Brault (CANADA)
The A-Z Listing (groups)
Improved and adapted First Edition in English
Tommy Schønenberg (NORWAY)
Reviewer of the Top 20 Best Progressive Rock albums
Vintage Prog - Progressive Rock, and much more…
Lucas Biela (FRANCE), Pierre Dulieu (BELGIUM) & Dominic Francoeur (CANADA)
For their inspirational works in the field of progressive rock music
Finally, to the musicians, the fans, and all who support this wonderful music, and to everyone (a credit to the members of
ProgArchives for their valuable input) who provided me with information, I extend my warmest thanks.
With love to you all,
Ronald Couture

3
FORTY YEARS OF HISTORY
 MY STORY WITH PROGRESSIVE ROCK MUSIC
If I remember correctly, my first experience with the vast underground "prog scene" was around the mid-70s, when a fond-
ness for GENESIS’ "Foxtrot" led me to purchase the rest of their albums. You know how it is at school, though: friends
introduce you to strange new ideas and influences, and gradually you become hooked on new kinds of music. So it was
with me. I listened intently to all the new sounds and styles with intrigue and delight. My collection of prog rock LPs was
fairly extensive and growing, as I was buying about three new prog LPs each week, whenever my finances would allow.
At Sherbrooke University in Quebec, my eagerness to explore progressive music led to quite a large collection of great
bands and albums, including GENESIS (Nursery Cryme, Foxtrot, Selling England By The Pound), PINK FLOYD (Dark
Side Of The Moon, Wish You Were Here, Animals), ELOY (Dawn, Ocean), The STRAWBS (Hero And Heroine, Grave
New World), BARCLAY JAMES HARVEST (Everyone Is Everybody Else, Time Honoured Ghosts), JETHRO TULL
(Thick As A Brick, Aqualung), The MOODY BLUES (Days Of Future Passed, On The Threshold Of A Dream), RENAIS-
SANCE (Scheherazade And Other Stories), and SUPERTRAMP (Crime Of The Century), among others. I also became
fascinated with Italian progressive rock (BANCO, Le ORME, PFM), as well as other non-English European prog, and the
expanding American prog scene.
I continue to expand my knowledge and appreciation for this rock genre which offers so many diverse styles and creative
elements. My passion for prog rock has grown to encompass many groups, and lately I’ve realized that more and more of
my favorites come from the neo-prog, symphonic prog, prog metal and space rock sub-genres. This phase of my musical
exploration has taken me into the realms of new groups like MARILLION (Script For A Jester’s Tear, Misplaced
Childhood, Marbles), ANGLAGARD (Hybris), ARENA (The Visitor, Immortal?), AYREON (Into The Electric Castle,
The Universal Migrator Part 1 & 2), CAMEL (Mirage, Harbour Of Tears), DREAM THEATER (Images & Words,
Octavarium), IQ (Subterranea, Dark Matter), LANDS END (Natural Selection), PAIN OF SALVATION (The Perfect
Element Part 1), PALLAS (The Dreams Of Men), PENDRAGON (The Masquerade Overture, Believe), PINEAPPLE
THIEF (Variations On A Dream), and PORCUPINE TREE (Lightbulb Sun, In Absentia, Deadwing), among others.
In my opinion, recent years have brought us some very good and memorable Prog Rock music!

"Progressive Rock is a music made for the dream,

the escape, to feel a multitude of emotions."

4
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
PROG ARCHIVES
Your ultimate Prog Rock resource…!
My knowledge of progressive music has greatly increased in recent years, thanks to good friends like Bruno Aun, a
designer who introduced me to the Internet, and my very dear friend, M@X (Prog Archives Administrator and
WebMaster). The "archives" were inspired (and continue to be driven) by M@X’s and my desire to promote our passion
for this music via our own Web site. Today, PROG ARCHIVES brings me a lot of info, new "net" friends, and pleasure,
as I continue to discover many great prog artists from every corner of the earth, and thus learn more and more about the
music I love so.

PROG ARCHIVES is the result of some friends’ passion for progressive rock, a kind of music that (in case you didn’t
know) crosses and combines many musical genres (jazz, classical, folk), resulting in a unique, original and often
challenging style. Our "project" is open to everyone who wants to add his or her own contribution. Anyone who loves
prog can review here, exchange opinions, and find other prog lovers with whom to share their thoughts and passion for
this excellent music. In fact, the site’s pages have the express purpose of letting you enter step-by-step into the fantastic
"prog world."
Here at PROG ARCHIVES, we are proud to serve fans of progressive music with any information we can: bands,
biographies, discographies, song titles and duration, pictures of album covers, helpful reviews and samples* from some
of the finest artists of the prog scene, from the time-honoured past to the exciting present. Progressive music is full of
vibrant and pleasant memories and associations for fans like me, as we find ever more cross-connections within its
(still expanding) scope. Thanks to the Internet, the progressive movement is experiencing a revival of interest from a
dedicated, sophisticated and growing audience.
For people wanting a more in-depth list, I’ve included a link to the excellent Prog Archives (English version) below. A
warning, though: the site could take a lifetime to read, so don’t plan on having a social life…!
My love to you all,
Keep on proggin!
http://www.progarchives.com
*NOTE: These are not complete albums. If you like what you hear from the samples, please buy the full-length releases.

5
FORTY YEARS OF HISTORY
6
Dear Friends of Progressive Rock:
What if a trustworthy companion offered to take you on a journey and guide you through the exciting discovery of albums you’d
only dreamt of?
That’s exactly what the Essential Mini-Guide to PROGRESSIVE ROCK will do!
Intended for Progressive Rock aficionados and Classic Rock lovers alike, the Mini-Guide covers the history and development of
the worldwide Progressive Rock movement from its origins to the present, with tools to help you dig into its history even further.
And here is a first: it clearly defines "WHAT PROGRESSIVE ROCK IS?"
Through four chapters, each covering one "wave" of the Progressive Rock movement, you will re-live:
• the end of the Sixties (PROTO-HISTORY),
• the Seventies (the GOLDEN AGE),
• the Eighties (the SILVER AGE and birth of NEO PROGressive rock),
• and the Nineties until today (the rebirth and new PROGressive METAL).
Selected from the most famous to the highly obscure, each band comes with a biography and some with a recommendation of their
best albums. You will also find an in-depth review of the 20 best Prog albums of all time (released between 1967 and 1979).
Finally, the Mini-Guide includes an analysis of the artwork of the most beautiful “album covers.”
Yet despite years of enjoyment, dedication and intensive research, not only are there still gaps in my knowledge, but I suspect that
there are many hidden Prog treasures still waiting to be unearthed. And although this is the second edition, no doubt you will
also find incorrect statements, errors and/or facts that need to be straightened out. Therefore, I will be most grateful for any
information, comments or suggestions for improvement that will bring me closer to my goal - that of making this handbook the
most comprehensive and truly "Essential Mini-Guide to PROGRESSIVE ROCK."
ENJOY YOUR READING and HAPPY DISCOVERIES!

7
FORTY YEARS OF HISTORY
8
 TABLE OF CONTENTS

INDEX A - The definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

INDEX B - The development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Late 60s and beginning of the 70s
The 70s
The 80s
The 90s to the Present
INDEX C - The face of progressive music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
INDEX D - The History (1967 to the Present)
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
1 - Proto-History - 1960s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
2 - First Wave - 1970s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
3 - Second Wave - 1980s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
4 - Third Wave - 1990s to the Present . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
INDEX E - Top 20 prog albums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
INDEX F - Progressive Art: The Most Beautiful “Album Covers” . . . . . . . . . . . . . . . . . . . . . .41
I- Hipgnosis : Surrealism and Mystification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
II- Kim Poor : Diaphanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
III- Paul Whitehead & Genesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
IV- Worlds of Roger Dean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
V- Mark Wilkinson & Marillion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
VI- Hugh Syme : Exploiting the Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
VII- Simon Williams : The Carnival of the Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
VIII- Single Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
IX- The Changing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
X- The Art of Ed Unitsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

9
FORTY YEARS OF HISTORY
 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 music,
occurring at the intersection between rock, jazz and
classical music.”
The problem of the "right terminology" 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 consider, much less catalogue this diverting genre of
music. But is the “essence” of something not specific to each
one of us? After all, what good is it to disparage an album if
one has not listened to it? With “progressive rock,” one often
truly enjoys an album after having listened to it several times.
Our tympanums are our interpreters, but the “spirit” is our only
judge.
It would take a very astute mind to define prog 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 :
I would like to dispense with the myth that “Progressive Rock”
emerged in the United Kingdom 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 British and American acts such as
CREAM, HENDRIX, VANILLA FUDGE, FRANK ZAPPA,
KING CRIMSON and PINK FLOYD, to name but a few. Also,
there were other bands who were looking for totally new forms
and methods of playing together, such as HARMONIUM and
RUSH (Canada), ANGE, ATOLL and MAGMA (France),
AMON DUUL, CAN, ELOY and TANGERINE DREAM
(Germany), BANCO DEL MUTUO SOCCORSO and PFM
(Italy), TRIANA and GOTIC (Spain), KANSAS (USA), and
GONG (muti-national), 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." The main
defining characteristics and tendencies are that the composi-
tions are more elaborate than the standard rock song structure
of verse, chorus etc. Musicianship is often taken to the limit -
and indeed, many of innovative and open-minded bands in
"prog rock" had their origins in the late 1960s art school of
Britain.
They were created to represent a philosophical approach to
rock by experimenting with unusual musical instruments
including wind sections (flute, saxophone) and string sections
(violin, cellos, harpsichord, etc.), electronic experiments
(MOOG & ARP synthesizers, the Mellotron, HAMMOND B-
3 organ) and full orchestras. The arrangements incorporate
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
stylisation based on jazzy theory, classical elements, world or
even avant-garde music. The lyrics, where they exist, are often
poetic, conceptual (a musical "journey" with intricate melodies
and harmony) or based in fantasy.
With regard to musical structure, “prog” usually offers
complex arrangements - often including long, beautiful instru-
mental sections - and virtuoso musicianship, combining tech-
nical 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 GENE-
SIS’ “Supper’s Ready” (23 minutes). When not forced into
using “mainstream” structures, artists have freer reign to inte-
grate 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)
The progressive rock movement began in Britain in the late
1960s and early 1970s branching off from the fields of psy-
chedelic and underground rock. It is through these various
tendencies that many sub-genres later will be established :
Canterbury, symphonic (probably the most famous names in
prog), space rock, folk prog, Krautrock, Zeuhl, neo-prog, prog
metal, post-rock, experimental etc… and it is today one of the
most interesting and widely overlooked musical phenomena of
the 20th Century.
However, without being completely exhaustive, the various
tendencies (or forms of progressive rock music) are :
Experimental (SOFT MACHINE, KING CRIMSON), psyche-
delic (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 RIO (HENRY COW), and Zeuhzl
(MAGMA). There are even Progressive Instrumental (MIKE
OLDFIELD), Folk Progressive (JETHRO TULL, RENAIS-
SANCE, The STRAWBS), Hard Progressive (RUSH),
Neo-Progressive (MARILLION, ARENA, PENDRAGON),
and Progressive Metal (DREAM THEATER, AYREON, PAIN
OF SALVATION).
Another fundamental characteristic of this “cerebral” genre, is
its universality (without any commercial or media support) :
vibrant "progressive rock" communities span the globe, in
South America, Japan, Western Europe (Italy, Holland, Sweden
and where it all started, in the UK), Eastern Europe (Poland
and Hungary), the USA and in Quebec, Canada with concerts,
magazines and specialised distributors devoted to the cause of
quality music.
With the advent of the World Wide Web, it is safe to assert that
"Progressive Rock" is in full expansion, even though it will
probably never again dominate the charts, destined to
“progress” perpetually beyond the shallow silliness that has,
for so long, been polluting the airwaves.
"You call yourselves progressive
I say it's all regressive
You think you can stand in judgement
So listen here and I'll remind you :
Preaching the converted
’cause it's all you know
Music's dead because
It"s all about the money now…"
(Preaching the converted - "Test Of Willis" - MAGELLAN
1995)
All intelligent music lovers should be made aware of the
wonders of this style!
All the best...!

11
FORTY YEARS OF HISTORY
 INDEX B - The development of progressive rock music...!
I. Late 60s and beginning of the 70s
I would say it all began with psychedelic music, i.e., essential-
ly Jimi HENDRIX and early PINK FLOYD (all their stuff with
Syd Barrett). Some people say that The BEATLES also
contributed to the prog movement. Then came bands such as
KING CRIMSON and YES at the end of the Sixties. KING
CRIMSON, along with VAN DER GRAAF GENERATOR
(VDGG), helped define a sub-genre of progressive music
called "hard prog" ("hard" referring to the tormented
atmosphere of the combined music and lyrics. However, "In
The Court Of The Crimson King" is symphonic prog. YES
were playing symphonic prog, so called because of the use of
a symphonic rock music. GENESIS were already recording at
the end of the Sixties, but their link to progressive rock was not
yet defined. With the album "Trespass," things became clearer
about GENESIS. YES and GENESIS remain icons in
symphonic rock music. Other bands followed their steps later:
e.g., GENTLE GIANT and CAMEL, among others. At the
same time as symphonic rock was developing in Great Britain,
many Italian bands were writing and performing a similar type
of music: e.g., BANCO DEL MUTUO SOCCORSO (BDMS),
PREMIATA FORNERIA MARCONI (PFM), Le ORME,
and QUELLA VECCHIA LOCANDA (QVL), among others.
These two countries were the most prolific as far as
progressive rock is concerned.
Let’s go back to Great Britain to focus on another sub-genre
that comes from the Canterbury country. CARAVAN defined
that sub-genre with their second album, and bands like
HATFIELD AND THE NORTH, and later NATIONAL
HEALTH, followed (plus a band that didn’t come from
England, but from the USA: HAPPY THE MAN). The first
GONG album ("Camembert Electrique," featuring drummer
Pip Pyle, who later joined HATFIELD AND THE NORTH and
NATIONAL HEALTH) also belongs to this sub-genre. Daevid
Allen (who later founded GONG), along with Robert Wyatt,
formed SOFT MACHINE, a band that could be regarded as
belonging to the Canterbury scene for their first three releases,
but which, with their next release ("Third"), turned to jazz-
fusion, another sub-genre that later included drummer Bill
Bruford (who played with KING CRIMSON and YES) and
BRAND X (featuring drummer Phil Collins from GENESIS)
and, in the USA, Frank ZAPPA.
So, by the beginning of the Seventies, three sub-genres of
progressive rock were already established: symphonic (YES,
GENESIS), Canterbury (CARAVAN, early GONG), and hard
prog (KING CRIMSON, VDGG).
II. The 70s
After Syd Barrett left PINK FLOYD, their music became
softer, with ethereal passages, thus defining a new sub-genre:
space rock. GONG were also following this path (but with
humour) with "Angel Egg," their best release to date. After the
YARDBIRDS split, Keith Relf and his wife, Jane, formed the
band RENAISSANCE, a group that blended folk music with
12
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
progressive rock. Along with JETHRO TULL,
RENAISSANCE helped define another sub-genre: folk
progressive. The popularity of RENAISSANCE grew after
Annie Haslam replaced Jane Relf on vocals, and the band
released the great "Scheherazade And Other Stories" in 1975.
JETHRO TULL released "Aqualung" in 1971, an album that is
considered a classic today, though I would more highly
recommend the follow-up, "Thick As A Brick," as an introduc-
tion to their contribution to the folk prog scene.
Another sub-genre of progressive rock was also developing in
the Seventies - art rock - led by such bands as SUPERTRAMP,
and ROXY MUSIC. These groups were playing a "simpler"
music than other progressive sub-genres. In Germany, TAN-
GERINE DREAM was playing a music based exclusively on
electronic instruments, hence their music falls under the
"Electronic" (or "New Age") sub-genre, although that subgenre
may include many non-electronic instruments (‘’New Age’’)
as is the case with Mike OLDFIELD. VANGELIS and
SYNERGY also belong to this sub-genre.
Many of the German bands that appeared at the beginning of
the Seventies were classified as "Krautrock," an additional
sub-genre of progressive rock, which includes GROB-
SCHNITT, AMON DÜÜL, and ASH RA TEMPEL. A mini-
malist form of "electronic" music also appeared in the
Seventies: ambient. Artists such as KRAFTWERK, Brian ENO
and CLUSTER belong to this category. Moreover, in England,
a new sub-genre based on improvisation, with a jazz back-
ground, appeared in 1973 with the release of HENRY COW’s
"Leg End." This sub-genre was labeled "Rock In Opposition,"
or RIO
Not to be forgotten is EMERSON, LAKE & PALMER (ELP),
a band that gathered members from KING CRIMSON,
ATOMIC ROOSTER and The NICE, whose albums ("Brain
Salad Surgery" often being regarded as their best) belong to a
sub-genre called "classical prog," as they often feature songs
that are adaptations of both well-known and obscure classical
compositions ("Pictures At An Exhibition," for example). The
NICE and Rick WAKEMAN also belong to this sub-genre. In
North America, some groups mixed hard rock with progressive
elements, creating a sub-genre called "pomp prog," as the
intros and outros of some of their songs are "pompous." RUSH
and STYX are among the bands in this sub-genre (KANSAS
could also be added to this category, though they are also close
to the English symphonic prog scene).
I mentioned previously the development of a jazz-fusion scene,
with BRAND X (featuring Phil COLLINS), Bill BRUFORD
and Frank ZAPPA (ZAPPA’s music could be considered as a
unique sub-genre, mixing jazz, doo-wop, rock, classical, etc.).
Another band also strongly rooted in jazz, but including
influences ranging from Karlheinz Stockhausen to Duke
Ellington, via opera, is MAGMA, who created the Zeuhl sub-
genre, with a language intelligible only by them ("Kobaïa").
So, at the end of the Seventies, we now have 10 sub-genres in
progressive rock: art rock, folk progressive, classical progres-
sive (or symphonic rock), RIO, jazz-fusion, Zeuhl, ambient,
electronic, Krautrock, and pomp progressive.
III. The 80s
At the end of the Seventies, progressive rock was "supplanted"
by the "punk" movement, a "music" which aimed to prove,
among other things, that anyone could play music. "Punk"
gave rise to the "cold wave" in the Eighties, and prog rock was
reduced to what was called "neo-progressive" (a simpler form
of symphonic prog, but with more "present" drums), and an
embryo of what became, at the beginning of the Nineties,
progressive metal. SAGA were probably the first to play
neo-progressive rock, but MARILLION, IQ and PENDRAG-
ON are the best representatives of this sub-genre. Landmark
albums include "Misplaced Childhood" (MARILLION),
"Masquerade Overture" (PENDRAGON) and "Ever" (IQ).
IV. The 90s
The newest sub-genre of progressive rock - progressive metal
- became fully developed with DREAM THEATER’s "Images
and Words." However, some groups in the Eighties were
already playing a heavy metal-based progressive music,
including QUEENSRYCHE, FATES WARNING and
WATCHTOWER. (Recognition is due to Mike Varney, who
founded the prog label "Magna Carta" in the USA and the
"Inside Out" label in Europe.)
Also in the 90s, SPOCK’S BEARD was playing a form of
symphonic prog with references to GENTLE GIANT and
GENESIS. ECHOLYN and IZZ were playing a music closer to
neo-prog. In Northern Europe, a Scandinavian symphonic prog
scene developed, with bands such as The FLOWER KINGS,
ANGLAGARD and SINKADUS. A post-RIO scene also
developed with DJAM KARET and THINKING PLAGUE,
among others. There were also new groups playing jazz-fusion,
including KENSO, CARTOON and DEUS EX MACHINA.
Also at this time, PORCUPINE TREE and OZRIC
TENTACLES were playing space rock, and COLLAGE and
CLEPSYDRA were playing neo-prog that was strongly
influenced by IQ and MARILLION.
Thus, in the Nineties, you have a revival of the prog scene not
only with the appearance of a new sub-genre - progressive
metal - but also with bands playing the styles developed in the
Seventies.
Written by Lucas Biela, France

13
FORTY YEARS OF HISTORY
 INDEX C - The face of progressive rock music
"Enter the landscape of your mind, a world so strange
and unknown that it seems untouched."
When KING CRIMSON's debut ‘’In The Court Of The
Crimson King’’ was released in 1969, it was a fundamental
"wind of change" for the whole face of rock music history. It
marked the beginning of a mysterious new musical genre
henceforth called ‘’progressive rock" or "art rock’’. The entire
album featured a strong structure offering various stylistic ten-
dencies… psychedelic with classical symphonic arrangements
& an avant-garde approach, free-jazz sensibility, DONOVAN-
ish folk rock with medieval atmospheres, and a cacophony of
apocalyptic heavy metal. Lyrically, the album is deep, with
psychedelic sci-fi lyrics rivalled at the time only by Syd Barrett
(PINK FLOYD). This really didn’t exist on many records; it
was something that most people had ever heard before.
KING CRIMSON
"In The Court Of The Crimson King"
October 1969
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..." 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 heat attack the following year). This face, in
many facets, describes the innovation, sound and intensity of
this album.
This laid the blueprint for all progressive rock bands to follow.
After all, at this point, most Progressive bands weren’t really
progressive at all yet; The MOODY BLUES were still playing
edgy British pop; PINK FLOYD were leading the way in space
progressive rock & very cosmic music; JETHRO TULL were
still performing their own brand of mutant blues; GENESIS
were still in their British-pop phase and essentially a bunch of
four schoolboys learning their trade; and YES was still search-
ing for their direction.
This album planted the roots in the genesis of progressive rock
for other major names like PINK FLOYD, YES, GENESIS,
JETHRO TULL, GENTLE GIANT, VAN DER GRAAF
GENERATOR and EMERSON LAKE PALMER. The
influence of KING CRIMSON has been cited by a plethora of
artists ranging from MARILLION to ANGLAGARD and
14
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
Steven Wilson (PORCUPINE TREE) to OPETH. As you see,
‘’In The Court Of The Crimson King’’ is there in the Olympia
where all THE most important progressive albums stay,
historically and musically. More than essential..!
The instrumental architecture and marvellous baroque
lyrics were a culmination of a concerted effort by the band
members :
o the complex drumlines of Michael Giles (of GILES, GILES
and FRIPP fame);
o the melodic bass playing and the crystal voice of Greg Lake
(future ELP frontman);
o the ferocious guitar playing of Robert Fripp (arguably the
leader of the Progressive Rock movement);
o the assorted quasi-classical woodwind and brass (flutes &
saxophone) and screaming keyboards of Ian McDonald (co-
founder of FOREIGNER & multi-instrumentalist);
o plus Pete Sinfield’s Tolkien inspired lyrics.
Track Listing:
Side 1
1. 1st Century Schizoid Man (7:20)
2. I Talk to the Wind (6:05)
3. Epitaph (8:47)
Side 2
1. Moonchild (12:11)
2. The Court of the Crimson King (9:22)
Line Up:
• Robert Fripp / guitar
• Ian McDonald / reeds, woodwinds, vibes, keyboards,
mellotron, vocals
• Greg Lake / bass guitar, lead vocals
• Michael Giles / drums, percussion, vocals
• Peter Sinfield / words and illumination
In short, you can hear a five extended tracks (the shortest being
about six minutes and the longest about twelve) by four young
British musicians. This is an absolute monster (with the
EXTREMELY HIDEOUS face plastered across the back
cover) of A PIECE OF ART!
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15
FORTY YEARS OF HISTORY
 INDEX D - The History (1967 to the Present)
INTRODUCTION
Writing a history of Progressive Rock is quite an ambitious
undertaking, and it’s hard to expect one person to know every-
thing about the multitude of bands and musicians.
In this mini-guide to progressive music, I hope to have you
discover this genre by means of four "chronicles," each one
covering one "wave" of the progressive movement. The four
chronicles correspond approximately to: the end of the Sixties
(PROTO-HISTORY), the Seventies (THE GOLDEN AGE),
the Eighties (THE SILVER AGE and the birth of NEO-
PROGressive rock), and the Nineties to the present (rebirth,
and the 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 deeper into the history of progressive rock. The idea
here is to put 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, all of
which led to 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 unexpected
richness.
Enjoy….!
''The music’s playing, the notes are right
Put your left foot first and move into the light
The edge of this hill is the edge of the world
And if you’re going to cross you better start doing it right
-
Better start doing it right''
Dance On A Volcano (Rutherford/Banks/Hackett/Collins)
GENESIS, "A Trick Of The Tail'' (1976)
16
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
1- PROTO-HISTORY - 1960s
PROTO-HISTORY: Not Yet “Prog,” But Almost!
(1966-1969)
Sometimes called Proto-Prog ("proto": first-formed, primary),
this pre-genre describes the groups and musicians who were
the first to blend classical and/or artistic elements with Rock
music : some of them only in the arrangements, though others
went further. Anything which dates from before 1970 is
regarded as the psychedelic or proto-prog (prototype of
progressive).
The mid-1960s "British Invasion" groups, in an apparent
attempt to surpass one another in "vanguardism," began to
utilize instruments and stylistic elements drawn from both the
British music hall and European art music (commonly known
as "classical" music, even though that is not a 100% accurate
term) traditions. They were the logical step in musical evolu-
tion after the psychedelic explosion. The doors of perception
were opened by psychedelic rockers such as The BEATLES,
Frank ZAPPA, JEFFERSON AIRPLANE, CREAM and also
PINK FLOYD with their first album, who dared to explore fur-
ther and push back boundaries.
All in all, "progressive rock" was born with a swirl of
symphonic, jazz and experimental influences fused with
psychedelic rock.
A) Proto-Prog - Part I
The earliest traces of progressive rock can be seen in the wake
of the experimental work by artists (and albums) like The
BEACH BOYS ("Pet Sounds") and The BEATLES
("Revolver" & "Sergeant Pepper’s Lonely Hearts Club Band").
The valuable efforts of these groups were habitually to expand
the roots of the rock movement leading to innovations such as
concept albums which also contained psychedelia. Developing
their avant-garde progressive rock music since 1965, PINK
FLOYD released their pivotal "The Piper At The Gates Of
Dawn" in 1967 and by the end of the year CREAM responded
with their psychedelic & blues rock album "Disraeli Gears."
THE BEACH BOYS
"Pet Sounds"
May 1966
While the contribution of The
BEATLES should never be
forgotten, one often underesti-
mates The BEACH BOYS who
released "Pet Sounds." This
inspired two of the greatest
albums of all time, The BEATLES' "Revolver" ('Tomorrow
Never Knows' - the first progressive title in history) and
"Sergeant Pepper's Lonely Hearts Club Band". ‘’Pet Sounds’’
is for its time a complex symphonic/pop suite of songs:
ethereal harmonies, revolutionary chord progressions,
soul-baring lyrics, and Brian Wilson’s eccentric compositional
prowess. "Pet Sounds" is arguably one of the greatest pop/rock

albums. It is devoid of filler, unlike other ambitious works like
"Sgt. Peppers…," "Tommy" and "The Wall."
THE BEATLES
"Revolver"
August 1966
Arguably the first psychedelic
rock album, "Revolver" was
praised for its musical experimen-
tation but how embarrassing : a
bunch of pleasant and varied
songs, an impressive orchestra
backing them up with violins and cellos, alternating between
pop and rock with some progressive elements (adding classical
instrumentations, folk instruments like tablas and sitar), and
using a sophisticated studio sounds. The acid and breathtaking
closer "Tomorrow Never Knows" is easily the most creative
and experimental song The BEATLES had produced up to that
point, and it really shows the progressive tendencies of the
band. In short, "Revolver" brings out more progressive-style
techniques, and rocket launches music into the next generation
paving the way for KING CRIMSON, PINK FLOYD, The
MOODY BLUES and others.
THE BEATLES
"Sergeant Pepper’s Lonely
Hearts Club Band"
April 1967
The real ground-breaking,
however, took place in April 1967,
when The BEATLES released
“Sergeant Pepper’s Lonely Hearts
Club Band” - a blend of early rock
ballads and styles of music never heard before - to an unsus-
pecting and enraptured public. These young musicians chose to
amalgamate various combinations of rock, psychedelic,
classic, folk, electronics, contemporary, and medieval with
other forms resulting from the use of new techniques with both
instruments and recording. This, the most famous rock album
of all time along with its predecessor (“Revolver”), was the
inspiration for legions of other artists all over the world.
PINK FLOYD
"The Piper At The Gates Of
Dawn"
August 1967
Psychedelic rock at its best, PINK
FLOYD’s “Piper At The Gates Of
Dawn” represents the finest that
British psychedelic music has to
offer: simple, but weird and
catchy, short psychedelic songs and some long early “progres-
sive” hymns blended by the genius of Syd Barrett and the other
then-members of PINK FLOYD (Roger Waters, Nick Mason
and Rick Wright). The outsized instrumental “Interstellar
Overdrive” is the first true example of what will later become
1- PROTO-HISTORY - 1960s
known as “Space Rock.”
CREAM
"Disraeli Gears"
November 1967
Despite being comprised of three
of the best musicians of the
1960’s, CREAM presented the
basis of their vision in psychedelic
rock : a unique fusion of Clapton’s
blues styles and Bruce and
Baker’s jazz influences. In fact, their music had basically three
layers : a pop melody, lengthy solos inspired by free jazz, and
a propulsive Rhythm & Blues beat. For many, this was the
birth of what would later be called "heavy metal." The album
comes in the best psychedelic cover of the 20th Century… and
Clapton will go on to be hailed as a "god"!
At the same time, other musicians from the US West Coast like
FRANK ZAPPA AND THE MOTHERS OF INVENTION
("Freak Out!" - an early, complex, even disturbing project)
incorporated jazz influences with psychedelic rock. These were
popularized by the JEFFERSON AIRPLANE's "Surrealistic
Pillow," which is regarded as one of the key of recordings of
the so-called "Summer Of Love." In Britain, the folk psyche-
delic sibling of The WILDE FLOWERS led to the birth of two
progressive (Canterbury Scene) bands, SOFT MACHINE by
Robert Wyatt and CARAVAN.
FRANK ZAPPA & THE
MOTHERS OF INVENTION
"Freak Out!"
August 1966
With parodies of pop music,
avant-garde dissonance, unpre-
dictable arrangements and
outspoken political commentary,
FRANK ZAPPA AND THE
MOTHERS OF INVENTION’s debut album "Freak Out!"
explored all the conventions of popular music. It’s a brilliant
and wickedly charming album, not to mention one of the
earliest double collection of songs in the history of rock music.
JEFFERSON AIRPLANE
"Surrealistic Pillow"
February 1967
Emerging from the US WEST
COAST in the mid-1960s, JEF-
FERSON AIRPLANE were the
‘’flagship’’ act for the burgeoning
psychedelic music scene, offering
up a mix of psychedelic and prog-
related songs. "Surrealistic Pillow" broke new ground with hits
like "White Rabbit" and "Somebody To Love", as they
ventured into the world of the acid-rock movement that
blended jazz, blues and folk, all the while maintaining that pop
17
FORTY YEARS OF HISTORY
 1- PROTO-HISTORY - 1960s
credibility. AIRPLANE would go on to play at the now famous
Monterey Pop Festival, and would become the leaders of the
San Francisco rock sound of that era. The whole world would
wait impatiently for the "next trip" which would turn out to be
an experimental album with long suites called "After Bathing
at Baxter's". "Surrealistic Pillow" is a legendary album from a
legendary band.
THE WILDE FLOWERS
"Tales Of Canterbury: The
Wilde Flowers Story"
(1965-1969)
The roots of the "Canterbury
Scene" (one of the most signifi-
cant movements in the history of
rock music) find their origin in
this group which had a fluctuating
line-up. This CD, released in 1994, compiles 22 demo tracks
recorded between 1965 and 1969: the majority are "incom-
plete" but they contain the seeds of the new ideas which will
flower later at SOFT MACHINE and CARAVAN, and their
subsequent groups or careers (GONG, MATCHING MOLE,
Kevin Ayers, Robert Wyatt...).
THE SOFT MACHINE
"Volume One"
December 1968
Since its creation in 1966, SOFT
MACHINE was the central
foundation of the Canterbury
Scene of British progressive acts,
a movement that also included
CARAVAN, GONG, MATCHING
MOLE, etc. The original formation included Mike Ratledge
(keyboards), Kevin Ayers (guitar) and Robert Wyatt (drums,
vocals). The first SOFT MACHINE album is a perfect collage
of blues, jazzrock and avant-garde music mixed with British
humour, but also an excellent slice of psychedelic rock in the
vein of Syd-era PINK FLOYD. All this would become the
trademark of many Canterbury bands.
B) Proto-Prog - Part II
Progressive rock is generally accepted as having appeared in
the United Kingdom around the second half of 1967. It was
manifested in post-psychedelic bands that evolved into a new
hybrid genre, born of the mixing of rock music with classical
and neo-classical elements by composers such as Bach,
Mozart, Copland, Bartok and Stravinsky - in other words, an
early form of symphonic/rock hybrid. A sizeable number of
"concept albums" relied on instrumentation that wasn't
common to the rock of its day: symphony orchestras or
synthesizers. Hammond organs, Mellotrons, and Moog were
especially prominent in many of these albums.
The main exponents of this were The NICE (featuring Keith
Emerson on keyboards), The MOODY BLUES (“Days Of
Future Passed”), and the Baroque-inspired classicism of
18
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
PROCOL HARUM (“A Whiter Shade Of Pale” - literally
“Bach and Rock”). KING CRIMSON’s “In The Court Of The
Crimson King” (1969) is the first fully-developed example of
this new genre, and the album that defines the true starting
point for Symphonic Prog.
Other late 60s albums such as PROCOL HARUM's "Procol
Harum" & The MOODY BLUES' "Days Of Future Passed"
excelled in unconventional song structures and overarching
thematic concepts which came to characterize the era of 1966-
75. These bands incorporated classical (a style of prog called
"symphonic") elements in their music through the use of
classical instruments (flutes, violins, cellos, harpsichord, etc.)
plus the rise of the Mellotron and Moog synthesizers. Soon
some notable practioners (primarily between 68 and 69) began
taking suit and bands like KING CRIMSON, GENESIS, VAN
DER GRAAF GENERATOR (VDGG for short) and YES
found overwhelming popularity in the 1970s. KING
CRIMSON's "In The Court Of The Crimson King" from 1969
is generally considered the starting point for the "progressive
movement."
PROCOL HARUM
"Procol Harum"
September 1967
PROCOL HARUM developed a
fresh new sound with some of the
best keyboards (piano for Brooker
and Hammond organ for Fisher)
and a guitarist extraordinaire in
Robin Trower. They are rightly
revered as one of the precursors of Progressive Rock (along-
side The MOODY BLUES and The NICE) because their music
had less British psychedelia and had more in common with
what would be Progressive Rock. As for the music, the style of
the album is typical of the imaginative music being produced
in 1967… a fusion of blues/jazz, rock with touches of folk,
classical influences (BACH melodies in the classic "Whiter
Shade Of Pale"), and unforgettably surreal lyrics. A great
START, but there was more to come...!
THE MOODY BLUES
"Days Of Future Passed"
November 1967
Psychedelic rock is combined with
the orchestral arrangements of the
London Festival Orchestra
(conducted by Peter Knight) to
sound like the band’s own
orchestra, using the band’s
signature Mellotron string sounds, flutes, timpani and multiple
vocals. "Days Of Future Passed," an ambitious and unique
conceptual album, is a classical symphonic pop album (or
proto-prog release) of the 60s that, on its own, created a road
towards the symphonic rock movement. The concept of the
album is a reasonably clever one, tracing "a day in the life,"

from dawn ("Dawn Is A Feeling") to night (the classic "Nights
In White Satin"). "Days…" is essential listening for anyone
interested in the Mellotron’s history, and is a good document of
its era to boot.
THE NICE
’’Ars Longa Vita Brevis’’
February 1968
The NICE is the first offensive of
scale of the piano/organ virtuoso
Keith Emerson. He successfully
realizes virtually from the outset, a
fusion between rock and classical
music. With this second release of
a trio (comment, While "5 bridges" was recorded live, it
contained largely new material, ans was I would suggest
as significant as the other 3), Keith Emerson presents the basis
of his vision of progressive rock: an amalgam of rock and
traditional music which is certainly pretentious, but which
lacks neither ambition nor quality. This is one album to
discover if you like EMERSON, LAKE & PALMER.
GILES, GILES & FRIPP
"The Cheerful Insanity Of
Giles, Giles & Fripp"
September 1968
Two years before the famous ‘’In
The Court Of The Crimson
King,’’ Robert Fripp (guitar/
vocals), Peter Giles (bass/vocals),
and Michael Giles (drums/vocals)
had recorded an insane disc on which one finds anything and
everything, but also some of the first steps to what would later
become KING CRIMSON. By any standards, ‘’The Cheerful
Insanity…’’ is one of the more eclectic albums in the repertoire
of timeless rock… drawing upon folk, classical, psychedelic
pop, and jazz tinged music. Each track brings a fresh listening
experience. Recommended, especially for the curious!
From 1963 to 1969, a different strain of progressive rock
emanating from the rise of psychedelia in Britain was the
Canterbury music scene, named after the town in Kent
(England). The prototypical Canterbury band wandered
through The WILDE FLOWERS from whom emerged
half-dozen of the most freewheeling British bands of the early
psychedelic period through to the post-psychedelic eras. The
band served as the wellspring of the so-called Canterbury
sound developed by bands such as the future jazz-rock SOFT
MACHINE (Robert Wyatt, Kevin Ayers) and jazz folk rock
CARAVAN (Pye Hastings, David & Richard Sinclair, Richard
Coughlan).
Their debut albums fell somewhere in-between psychedelic
elements and jazz influences (such as John Coltrane and Miles
Davis) instead of classical music, as was the case with
Symphonic Prog. Another well-known aspect of the
Canterbury Scene was the circular nature of personnel changes
1- PROTO-HISTORY - 1960s
in the various groups such as HENRY COW, MATCHING
MOLE, GONG, CAMEL, HATFIELD AND THE NORTH,
not to mention the distinguished solo careers of Robert Wyatt
and Kevin Ayers. The varied styles of the artists included rather
hippy space rock (GONG), Rock In Opposition (RIO) HENRY
COW, improvisational jazzy MATCHING MOLE, melodic
progressive CAMEL, and of course, the incomparable
diamonds : HATFIELD & THE NORTH and NATIONAL
HEALTH.
CARAVAN
"Caravan"
October 1968
CARAVAN were not the first to
arrive on the Canterbury Scene;
Richard Coughlan (drums), David
Sinclair (keyboards) and Pye
Hastings (guitar/vocals) had all
come from the pioneering
"Canterbury" outfit WILDE FLOWERS. The self-titled debut
album finds all involved in fundamental form, producing an
engaging, subtle mixture of poppy, mildly jazzy and
psychedelic songs. This early offering from the "Canterbury"
school was among the first to impart direction to the
newly-emergent progressive music.
THE SOFT MACHINE
"Volume Two"
April 1969
Originally released in 1969
following the departure of Kevin
Ayers, "Volume Two" was the first
SOFT MACHINE album to feature
the classic trio line-up of Mike
Ratledge on organ, Hugh Hopper
on bass, and Robert Wyatt on drums and vocals as the driving
creative force. This album was the perfect bridge between the
psychedelic pop music of the first album, and the jazz fusion
jams of the third. English humour, dissonance, avant-garde, jazz,
and the amazing Robert Wyatt as well! This is a melting pot of
musical forms, wrestling order from chaos - in short, a visionary
record that inspired a generation.
1968 saw the end of the hugely successful trio CREAM, who
had given JETHRO TULL the template for their early work prior
to their progressive period that started in the early 1970’s.
TULL’S first album, “This Was” (1968) was not just a reference
to where the band was, but probably the focal point of the
period. The music found on this album is very reminiscent of
type that could be found on hundreds of the standards of the
British 60’s blues revival movement and R&B albums of the late
sixties. After personal and musical differences, Mick Abrahams
left to form the briefly successful ‘BLODWYN PIG”. The
remaining TULL boys embarked, with permanent guitarist
Martin Barre, on the recording of the landmark album ‘Stand
Up” (1969) that defined the blending of progressive sounds and
19
FORTY YEARS OF HISTORY
 1- PROTO-HISTORY - 1960s

folk elements.
JETHRO TULL
"This Was"
October 1968
On ‘’This Was’’, the band were
just beginning to develop their
style. The interpretations of blues
by guitarist Mick Abrahams and
an interest in jazz, blues, classical
folk and ethnic music forms (lead
by vocalist & flautist Ian Anderson) here were brave and often
challenging. Ian Anderson’s unique voice and his omnipresent
flute give a very original color to this group who took a
significant place between rock, folk and progressive music.
Unlike more melodic bands, VAN DER GRAAF
GENERATOR’s debut, “Aerosol Grey Machine” (originally a
Peter HAMMILL solo project), brought a new and fresh stream
which was much more complex than the other bands of the
period. This album represents a fresh new sound, tormented by
its own demons (VDGG’s roots are “hard prog”), which seems
to be something of a leftover from the Psychedelic years rather
than the normal evolution that might have been expected.
VAN DER GRAAF
GENERATOR
"The Aerosol Grey Machine"
September 1969
The dark and very emotional voice
of Peter HAMMILL, his stories,
“mystical sciences,” and the very
personal music of the group
constitute an alloy with an
important place in the history of progressive music. This
album, far below the standards of the next albums, was to
become the most elusive of all of VDGG’s releases.
Around this time, other groups were starting to build unique,
sophisticated and inventive “sounds,” including EMERSON
LAKE & PALMER, GENESIS, JETHRO TULL, KING
CRIMSON, PINK FLOYD and YES. They became the “kings”
of this musical realm in both composition and performance by
pioneering a style of popular music developed in the late 1960s
and early 1970s, primarily by British rock musicians. Forty
years later, innumerable “progressive” groups would name
these bands when laying claim to the “heritage” of progressive
rock.
At this point, the "foundations" of Progressive
Rock are solid.
The curtain can then fall on the Sixties.
Indeed, one has already entered the Seventies.

20
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK

THE GOLDEN AGE : The Pioneers (1969-1979)
Whereas The BEATLES were of “working class hero” status,
several progressive rock musicians 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,
British 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, with both
instruments 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 ‘philosophi-
cal,’ 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
“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, JETHRO TULL, KING CRIMSON, PINK FLOYD
and YES - among the most famous names in prog - as well as
dozens of lesser-known bands. These artists skilfully exhibited
2- FIRST WAVE - 1970s
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 - 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 BANCO DEL
MUTUO SOCCORSO (BDMS), CAMEL, ELOY,
HAWKWIND, Le ORME, PREMIATA FORNERIA
MARCONI (PFM), RENAISSANCE, RUSH,
SUPERTRAMP, The STRAWBS. 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!]
The MOODY BLUES - England (1964)
SYMPHONIC PROGRESSIVE ROCK
IMITATION…INNOVATION…SENSATION…!
For some experts, The MOODY BLUES are credited as the
pioneers of what we now call “Proto-Prog” - a sub-genre that
blends psychedelic-era and pop rock done in a classical style.
Their music was influenced by American music (Motown and
blues) and Eastern influences (e.g., use of the sitar), but their
roots were in the rhythm & blues combos of the British
invasion. They are consequently respected as one of the most
21
FORTY YEARS OF HISTORY
 2- FIRST WAVE - 1970s
innovative and long-lasting groups to emerge during the 1960s.
The MOODY BLUES created one of the first concept albums
for an orchestral/psychedelic format, incorporating their union
of melodic guitar, pioneering percussion, rolling bass, and the
haunting Mellotron (which was new to rock at the time). They
captured the imagination of music fans around the world with
the landmark album, “Days Of Future Passed” - one of the
earliest “classical rock” records, featuring the London Festival
Orchestra as musical accompanists. To my mind, this album
works as well as The BEATLES’ “Sgt. Pepper” and early PINK
FLOYD offerings.
During the years 1967-1974, The MOODY BLUES recorded
seven very successful albums, all of which went “gold,”
including “On The Threshold Of A Dream” and “A Question
Of Balance.” During this period, their music was ambitious,
pastoral and philosophical, with songwriting contributions
from all five members : Justin Hayward (guitar/vocals), John
Lodge (bass/vocals), Mike Pinder (keyboards/vocals),
Ray Thomas (flute/harmonica/vocals), Graham Edge
(drums/percussion). Hibernation of a sort followed in the
mid-70s, as each member of the band released solo albums
(Hayward and Lodge having the most success with their effort,
The 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 band less a commercial force than a
cult band, the group still tours and releases albums on occasion
(including 1999’s “Strange Time”).
BEST ALBUMS:
Days Of Future Passed (67), In Search Of The Lost Chord (68),
On The Threshold Of A Dream (69), To Our Children’s
Children’s Children (70)
PINK FLOYD - England (1967)
PSYCHEDELIC & SPACE ROCK
PINK FLOYD is not simply one of the progenitors of progres-
sive rock, but is probably the most popular group in the entire
genre. The band’s name (chosen by original founder/lyricist
Syd Barrett) 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 JETHRO TULL, yet they are undoubtedly more
popular, better recognized, and more respected by the masses
and critics. “Dark Side Of The Moon” is one of PINK
FLOYD’s more famous albums, and was a big turning point in
22
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
their career. They established many more fans after releasing
the album, and became literally exhausted for quite a while.
All together, they have sold over 140 million records
worldwide, perhaps earning them the title of being one of the
best classic rock bands of the latest century.
BEST ALBUMS:
The Piper At The Gates Of Dawn (67), Meddle (71), Dark Side
Of The Moon (73), Wish You Were Here (75), Animals (77),
The Wall (79)
JETHRO TULL - England (1968)
FOLK PROGRESSIVE ROCK
Although JETHRO TULL (named after an 18th-century
farmer/inventor of the British Industrial Revolution) features
an excellent group of musicians, its primary focus is on its
creator, singer, lyricist and flutist extraordinaire, Ian Anderson.
Indeed, Anderson’s flute playing is one of the most
characteristic elements of the band. Their music is a mixture
of folk, medieval, blues, jazz, rock, traditional, and almost
anything else.
One of the reasons for JETHRO TULL’s enduring appeal is
their dedication to recording and performing that spans over
nearly four decades. Truly one of progressive rock’s
“dinosaurs,” they are also one of the most consistent groups of
the folk prog era, with 60 million albums sold since their
beginnings in 1968. In fact, they consistently released one
album every year between 1968 and 1980, with at least 6 of
them confirmed prog classics. They have also played over
2,500 concerts in 40 countries, and are still averaging 100
shows per year.
Their best albums are “Aqualung,” “Thick As A Brick,” “A
Passion Play,” “War Child,” “Minstrel In The Gallery,” “Songs
From The Wood” and “Heavy Horses.” All are considered
cornerstones of any prog collection, the latter being a serious
candidate for the best progressive rock album of all time.
BEST ALBUMS:
Stand Up (69), Benefit (70), Aqualung (71), Thick As A Brick
(72), A Passion Play (73), Minstrel In The Gallery (75), Songs
From The Wood (77), Heavy Horses (78)
CARAVAN - England (1968)
CANTERBURY STYLE
A throwback to the triumphal years of English progressive
rock, CARAVAN grew out of the break-up 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 1968.
Their music established the mix of humor and progressive
sounds (with warm and pleasant vocal parts; long instrumental
flights; guitar, organ sounds, and piano work, etc.), taking its
roots from classical music via 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 for the band (festivals, concerts, etc.). In
2002, the band played its first performance in the United States
in 28 years, at NEARfest 2002.
BEST ALBUMS:
If I Could Do It All Over Again, I’d Do It All Over You (70),
In The Land Of Grey And Pink (71), Waterloo Lily (72), For
Girls Who Grow Plump In The Night (73)
KING CRIMSON - England (1969)
HARD PROGRESSIVE ROCK
Founded by guitarist Robert Fripp, KING CRIMSON has
undergone many personnel changes over the course of its 35-
year span (with Fripp at the core), but has always remained
innovative. Some of the notable musicians who played with the
group at one time or another include keyboardist Ian
McDonald, drummer Bill Bruford, guitarist Adrian Belew, and
bassists Greg Lake, John Wetton and Tony Levin. Fripp also
entered into numerous collaborations on the side, including
with Brian Eno, Peter Gabriel and David Bowie, in addition to
recording several solo albums.
As noted, the “germs” of prog were present since at least 1966.
The BEATLES, PINK FLOYD, The MOODY BLUES and
PROCOL HARUM had “prepared the way” between 1967 and
1969. However, many people mark the beginning of progres-
sive rock in 1969 when a young English group called KING
CRIMSON, together for only a few months, gave us “In The
Court Of The Crimson King.”
Although there had been other trailblazers, “ITCOTKC” was
the first full-blown progressive rock album, and KING CRIM-
SON the first true progressive rock band. Led by the
technically gifted Mr. Fripp, KING CRIMSON married
blazing fiery guitar, deep lyrical concepts, and free jazz
improvisation and solos into a musical mix unlike anything
heard before. The music had a dark, majestic, sometimes
chaotic quality. “ITCOTKC” is not only a great album, but a
piece of musical history and a true monument of the genre.
BEST ALBUMS:
In The Court Of The Crimson King (69), Lizard (70), Islands
(71), Larks’ Tongues In Aspic (73), Red (74)
GENESIS - England (1969)
SYMPHONIC PROGRESSIVE ROCK
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
2- FIRST WAVE - 1970s
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.
Singer-lyricist Peter Gabriel (who would go on to a
considerably successful solo career) was the original theatrical
frontman. After his 1974 departure from GENESIS following
the release of their magnum opus - the double concept album
“The Lamb Lies Down On Broadway” - drummer Phil Collins
took the reins; shortly after this, the band’s progressive career
sadly went “pop” (pardon the pun).
Their best works were produced while Peter Gabriel was with
the band, and for a year or two after he left. Here is a guide to
the band’s work from three “periods”:
Early Period: “Trespass” (1970) was the band’s second album.
There are six songs here, all of which show glimpses of the
power the band was to develop for fully later.
Middle Period: “Nursery Cryme” (1971) shows the band
struggling with their new mix of talent, and has a couple of
weak songs. “Foxtrot” (1972) shows a more confident and
accomplished band. “Selling England By The Pound” (1973)
finds the band in a slightly mellower mood, with more acoustic
work on piano and guitar than before. “The Lamb Lies Down
On Broadway” (1974) is arguably the band’s finest album. It is
a 90-minute theater piece filled with a wide variety of music
and moods.
Late Period: The first two albums after Peter Gabriel’s
departure managed to preserve enough of the band’s progres-
sive qualities to make them interesting to older fans. “A Trick
Of The Tail” (1975) is a very strong album that still sounds
good today. “Wind And Wuthering” (1976) is the last album
made by the “old” GENESIS.
BEST ALBUMS:
Trespass (70), Nursery Cryme (71), Foxtrot (72), Selling
England By The Pound (73), The Lamb Lies Down On
Broadway (74), A Trick Of The Tail (75)
VAN DER GRAAF GENERATOR - England (1969)
HARD PROGRESSIVE ROCK
I am far from 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 influenced several
prog vocalists. His lyrics plumb the depth of literature, while
his music, epic in nature, benefited from the band’s original
arrangements. “Pawn Hearts” features piano, keyboards and
saxophone, as well as guitar work from KING CRIMSON
founder Robert Fripp. VDGG’s sound (already unique because
it was driven by saxophone and keyboards, guitar and drums)
cannot be easily related to the archetypes of folk, blues, rock or
jazz, despite the fact that it contains elements of all of these.
23
FORTY YEARS OF HISTORY
 2- FIRST WAVE - 1970s
BEST ALBUMS:
H To He, Who Am The Only One (70), Pawn Hearts (71),
Godbluff (75), Still Life (76)
YES - England (1969)
SYMPHONIC PROGRESSIVE ROCK
Along with GENESIS and PINK FLOYD, YES is considered
one of the most influential progressive rock bands of all time.
Along with those two plus KING CRIMSON, EMERSON,
LAKE & PALMER and other popular bands that have helped
shape today’s progressive music scene, YES have long been a
prog fan favorite, and stand out for their unique blend of styles.
Their “golden age” started at approximately the same time as
GENESIS’, in 1971, with the line-up of Jon Anderson
(vocals/lyrics), Chris Squire (bass/vocals), Peter Banks
(guitar/vocals), Tony Kaye (keyboards) and Bill Bruford
(drums). However, it wasn’t until the replacement of Tony
Kaye with keyboardist extraordinaire Rick Wakeman a year
later that the band truly reached its peak.
Anderson, Squire, Howe and Bruford’s input alone were
enough to make the music the most harmonious prog rock of
the day. Anderson’s distinctive high-pitched vocals, Squire’s
jazzy, rhythmic bass lines, Howe’s delicate guitar work, and
Bruford’s highly progressive drum skills spoke of things that
sprung from the collective minds of dreamers, and was filled
with joyful, expansive harmonies. By incorporating orchestral
works into their music to varying degrees over the years, YES
redefined what Rock’n’Roll could be. Their fresh ideas and
their ability to think beyond Rock’s 3-minute, standard 12-bar
structure turned much of the band’s catalogue into classic prog.
Their concept albums and lengthy live jams earned them a
huge fan following, as well as massive commercial success:
between 1972 and 1977, they had five top-10 albums, with
“Close To The Edge” peaking highest at #3 in 1972*. At that
point in time, YES comprised perhaps the most versatile,
virtuoso group of musicians in the history of progressive rock.
*Source: “Progressive Rock Reconsidered,” by Kevin
Holms-Hudson, Ed. (2002).
BEST ALBUMS:
The Yes Album (71), Close To The Edge (72), Fragile (72),
Relayer (74), Going For The One (77)
The STRAWBS - England (1969)
FOLK PROGRESSIVE ROCK
This well-known group’s progressive rock of the early 70s
differed from their more successful compatriots, like The
MOODY BLUES, KING CRIMSON and PINK FLOYD.
Their sound originated from a more traditional British folk
style blended with enough rock to form a unique sound. The
STRAWBS have recorded over 15 albums through the years,
with various line-ups around the core of David Cousins, who is
the main songwriter and driving force of the band. He has also
released a couple of excellent solo albums.
24
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
Rick Wakeman joined the group for three years (1969-1971),
during which he contributed to three albums. The STRAWBS
were also known as the first band to feature Mr. Wakeman’s
keyboard talents. The band can now be heard and seen on
“Classic Rock Legends,” a DVD from the eponymous label.
Even without Mr. Wakeman, The STRAWBS were a
significant contributor to the folk prog genre, along with other
bands such as FAIRPORT CONVENTION, GRYPHON and
RENAISSANCE. The STRAWBS’ most interesting period
began with “Grave New World” and ended with “Ghosts,”
their best album probably being “Bursting At The Seams.”
BEST ALBUMS:
From The Witchwood (71), Grave New World (72), Bursting
At The Seams (73), Hero And Heroine (74), Ghosts (75)
Le ORME - Italy (1969)
ITALIAN & SYMPHONIC PROGRESSIVE ROCK
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 bassist Aldo
Tagiapietra, keyboardist Toni Pagliuca and drummer Mike Dei
Rossi, the band harkens back to some of the Seventies groups
built upon keyboard parts (e.g., RARE BIRD, The NICE,
ATOMIC ROOSTER), as well as BANCO DEL MUTUO
SOCCORSO, due to the Italian vocals. The group stayed
together during the 1970s, during which time they 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,
drums), and with a guest guitarist for the album “Il Fiume,” Le
ORME returned to what they did best: elaborate symphonic
style with a classical touch, enhanced lyricism, and
development of complex, delicate themes with lots of breaks,
including dreamy or nostalgic ambiences. The group still
records, and recently released “Elementi” (2001) and
“L’Infinito” (2004). Indeed, “Elementi” has proven to be one
of the group’s best albums ever!
BEST ALBUMS:
Collage (71), Uomo Di Pezza (72), Felona E Sorona (73),
Contrappunti (74), Florian (79), Elementi (01)
RENAISSANCE - England (1969)
FOLK PROGRESSIVE ROCK
Founded in 1969 by ex-YARDBIRDS members, RENAIS-
SANCE went through several personnel changes, first
featuring singers Keith Relf and his sister, Jane (who later
fronted a very RENAISSANCE-like band called ILLUSION),
as well as drummer Jim McCarty. All had left by 1971, after
the release of a couple of unsuccessful albums in 1969 and
1971.
By 1973, a solid core of new musicians rallied to form what
was to become the band’s classic line-up: guitarist Michael
Dunford, bassist Jon Camp, keyboardist John Tout, drummer

Terry Sullivan, and, of course, classically-trained singer Annie
Haslam. Fronted by Haslam’s angelic, five-octave soprano,
singing lyrics by poetess Betty Thatcher, the band’s highly
orchestrated material cleverly blended rock and classical
music, creating some of the most beautiful and moving songs
in the folk-progressive repertoire. This classic line-up went on
to produce the band’s most acclaimed releases: “Prologue,”
“Ashes Are Burning” and “Scheherazade And Other Stories.”
By the late 70s, progressive folk rock bands were a dying
breed, as punk and new wave were taking the world by storm.
BEST ALBUMS:
Ashes Are Burning (73), Turn Of The Cards (74),
Scheherazade And Other Stories (75)
EMERSON, LAKE & PALMER - England (1970)
SYMPHONIC PROGRESSIVE ROCK
EMERSON, LAKE & PALMER (ELP) 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 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 known for its theatrics,
including Emerson stabbing at his Hammond organ.
BEST ALBUMS:
Emerson, Lake & Palmer (70), Tarkus (71), Trilogy (72), Brain
Salad Surgery (73)
GENTLE GIANT - England (1970)
HARD PROGRESSIVE ROCK
A unique group - extremely underappreciated even by many
progressive rock fans - GENTLE GIANT’s music 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. The band
was able to come through the 70s maintaining an outstanding
degree of integrity: despite altering their style over the years,
GENTLE GIANT was able to keep the quality of their music
at a very high level, as only a few bands were able to do.
There is great music a plenty to be found in their work, as the
band recorded 11 studio albums (plus a double live album)
between 1970 and 1980. Their impressive catalogue speaks for
itself. Virtually every album from “Acquiring The Taste”
2- FIRST WAVE - 1970s
through “Playing The Fool Live” are essential progressive rock
releases (with the possible exception of “Interview”), standing
as a testament to the band’s ingenuity, talent and consistent
reinvention. This period of the band’s career would see a
fittingly grand conclusion on the live “Playing The Fool”
album. What more is there to say about these masters of pro-
gressive rock?
In 2005, to celebrate the band’s 35th anniversary, a series of
digitally re-mastered and specially packaged CD’s of many of
their albums was released, featuring many previously
unreleased bonus live tracks. The re-released albums include:
“In A Glass House,” “Free Hand,” “The Power And The
Glory,” “Interview,” “The Missing Piece,” “Giant For A Day”
and “Playing The Fool Live.” If you love prog rock, then
you’ll certainly love GENTLE GIANT.
BEST ALBUMS:
Acquiring The Taste (71), Three Friends (72), In A Glass
House (73), Octopus (73), The Power And The Glory (74),
Free Hand (75)
HAWKWIND - England (1970)
PSYCHEDELIC AND ACID SPACE ROCK
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 1960s by guitarist/singer Dave
Brock, guitarist Mick Slattery and saxman/flautist/singer Nik
Turner. Dave Brock was the leader of HAWKWIND, as well
as the “captain,” as it were. The band would never have made
it for 30 years without Dave.
HAWKWIND’s history was marked by a series of confusing
line-ups through 40 or so personnel changes. As a result, their
sound continued to metamorphose and evolve: from an almost
jazz feel (“Hawkwind”), to the “experimental” and acoustic
sounds of early 1970s releases (e.g., “In Search Of Space”), to
a “metal” sound during the later 1970s, to a modern electronic
feel on the later works (e.g., “Electric Teepee”), one can detect
definite evolutions. Yet the band’s creativity seemed to be
powered by the use of synthesizers to add to the intense mood
of their songs. With this foundation, along with heavy delay
and a touch of techno, HAWKWIND practically created a new
sub-genre of progressive music that should be called
Psychedelic Acid-Space Rock - a sub-genre of which they were
the masters.
BEST ALBUMS:
In Search Of Space (71), Hall Of The Mountain Grill (74),
Warrior On The Edge Of Time (75), Levitation (80)
SUPERTRAMP - England (1970)
ART ROCK
A variant of progressive rock that some have called
“sophisto-rock,” SUPERTRAMP is a sophisticated pop band
that was able to consistently turn out very good songs such as
“Crime Of The Century” and “Dreamer.” They are unique and
25
FORTY YEARS OF HISTORY
 2- FIRST WAVE - 1970s
derivative and exciting and fun. Their first two albums were a
nice escape from the occasional passionlessness of prog rock.
Their music has been described as whimsical, lighthearted,
fluff and a million variations on this theme. One of their most
endearing qualities is that they have the ability to inject some
humor into their music now and then. With over 18 million
copies sold to date, “Breakfast In America” is one of the
greatest melodic pop/rock albums of the Seventies. After that
album, SUPERTRAMP continued to develop a more R&B-
flavored style.
BEST ALBUMS:
Crime Of The Century (74), Crisis? What Crisis? (75), Even In
The Quietest Moments… (77), Breakfast In America (79)
ELOY - Germany (1971)
SPACE ROCK & SYMPHONIC PROGRESSIVE ROCK
A group to travel in time - a past very present.
ELOY’s history places it at the top of the progressive and
“Germanic” hierarchy (which is a somewhat confused period).
The longevity of ELOY is owed to guitarist Franck
Bonermann, the man with the beret who has orchestrated the
destiny of ELOY since 1971. Any doubts about the later
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 elements, 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.
BEST ALBUMS:
Dawn (76), Ocean (77), Silent Cries And Mighty Echoes (79),
Ocean 2 (98)
PREMIATA FORNERIA MARCONI - Italy (1972)
ITALIAN & SYMPHONIC PROGRESSIVE ROCK
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, creating 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 their albums 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
also different than the original Italian releases. I prefer the
Italian versions of the songs. These albums are available in a
remastered box version through BMG Italy at a reasonable
price.
BEST ALBUMS:
Storia Di Un Minuto (72), Per Un Amico (72), Photos Of
Ghosts (73)
26
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
BANCO DEL MUTUO SOCCORSO
Italy (1972)
ITALIAN & SYMPHONIC PROGRESSIVE ROCK
Often compared to EMERSON, LAKE & PALMER or
GENESIS (in their better period), BANCO were undoubtedly
the greatest of all of the Italian progressive rock bands in the
mid-1970s. Their sound was influenced by folk themes,
classical music, and the melodic experimental British bands of
the time; e.g., early GENESIS, The NICE, and others.
The first three BANCO releases are definitely classics, with a
strong baroque feel, the dual keyboard tapestries of the
brothers Nocenzi, extremely complicated arrangements, and a
strong vocal presence. BANCO is a model of sophisticated
rock, still playing now with the same enthusiasm they had
thirty years before. Essential to any serious progressive rock
collection.
BEST ALBUMS:
Banco Del Mutuo Soccorso (72), Darwin! (72), Io Sono Nato
Libero (73), Banco (75)
CAMEL - England (1973)
CANTERBURY STYLE & SYMPHONIC PROGRES-
SIVE ROCK
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.
BEST ALBUMS:
Mirage (74), The Snow Goose (75), Dust And Dreams (91),
Harbour Of Tears (96), Rajaz (99)
RUSH - Canada (1974)
HARD PROGRESSIVE ROCK – PROGRESSIVE
METAL
RUSH is a Canadian “power trio” formed in 1969. Their
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 “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.
Although already a successful progressive rock band in the
Seventies, RUSH would see not one, but two direction changes
in their music that would increase both their influence and
 2- FIRST WAVE - 1970s

success in both the Eighties and the Nineties.

BEST ALBUMS (70s & 80s):
2112 (76), A Farewell To Kings (77), Hemispheres (78),
Permanent Waves (80), Moving Pictures (81), Signals (82)
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.
Beginning in 1975, 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. Even YES and
KING CRIMSON are among countless bands that have arisen
(or re-arisen) in the 1980s and 1990s to keep the tradition alive
and well.

27
FORTY YEARS OF HISTORY
 3- SECOND WAVE - 1980s
THE SILVER AGE: NEO-PROGressive (or the new wave
of prog)
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”; i.e., in a marginalized
fashion. Other groups (e.g., 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
greater success than they achieved during their early years.
Certain veteran musicians of the progressive scene even
created new “supergroups” (e.g., ASIA), incorporating both
progressive and more “commercial” elements. Others, like
KING CRIMSON, continued to make strictly “progressive”
music, but left 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 headline group.
Yet despite the rejection of progressive music by the critics
(and much of the public), at the beginning of the Eighties some
young musicians seemed eager to “buck the trend” 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-lived, 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 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 view 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 the appearance on the
scene: the year 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
28
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
leave your favourite one out!]
MARILLION - England (1983)
NEO-PROGRESSIVE (NEO-PROG)
Originally founded by drummer Mick Pointer and bassist Pete
Trewavas 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 to be 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 they have both lost old fans and gained
new ones as a result.
BEST ALBUMS:
Script For A Jester’s Tear (83), Fugazi (84), Misplaced
Childhood (85), Brave (94), Marbles (04)
IQ - England (1983)
NEO-PROGRESSIVE (NEO-PROG)
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 groups’ 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.
BEST ALBUMS:
Tales From The Lush Attic (83), The Wake (85), Ever (93),
Subterranea (97), Dark Matter (04)
PENDRAGON - England (1984)
NEO-PROGRESSIVE (NEO-PROG)
Founded in 1981, PENDRAGON released its first album in
1984 with musicians Mick Barret (guitar/vocals), Peter Gee
(bass), Clive Nolan (keyboards) and Fudge Smith (drums).
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
 3- SECOND WAVE - 1980s

instrumental sections, often with a “majestic” (and, to some

detractors, pompous) sound. The group’s major influences are
GENESIS and PINK FLOYD.
BEST ALBUMS:
The Jewel (85), The World (91), Window Of Life (93), The
Masquerade Overture (96), Believe (05)
A Word on RUSH:
Although RUSH had already established themselves as a
serious progressive rock group in the Seventies, beginning in
1980 the band released three albums (“Permanent Waves,”
“Moving Pictures,” “Signals”) that showed a significant
evolution in their style, 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.” But RUSH was not
done evolving or influencing others: as we will see, the
Nineties will bring RUSH even more success - and they will be
shown as the primary influence on an entire new sub-genre of
progressive rock: PROGressive METAL.
As an aside, RUSH’s album covers (part from “Rush” and “Fly
By Night”) were designed by the excellent Hugh SYME.
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 the Nineties, and even into the new
millennium. Two examples are PENDRAGON, whose major
work, “The 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.

29
FORTY YEARS OF HISTORY
 4- THIRD WAVE - 1990s
DIFFICULT RE-BIRTH…THEN GROWING:
New “PROGressive METAL”: Resurgence, or Revival?
1. RE-BIRTH… HARD, THEN GROWING!
In the Nineties and through to the present, the progressive
spirit returned again. Part of it came from groups who had
begun 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 The
FLOWER KINGS and PAIN OF SALVATION (Sweden),
PORCUPINE TREE and ARENA (UK), and DREAM
THEATER and SPOCK’S BEARD (US). Also worthy of
mention is Dutch multi-instrumentalist Arjen Lucassen
(founder of AYREON) who produced a series of innovative
concept albums with the backing of an array of talent from the
progressive rock scene.
Here are some of the new groups who were part of the
“re-birth” 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)
SPACE ROCK
Unique among the “third wave” bands, PORCUPINE TREE
was created to satisfy interest about “the legendary Porcupine
Tree,” which started as a solo project of guitarist/singer 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. The band’s 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.
BEST ALBUMS:
The Sky Moves Sideways (95), Stupid Dream (99), Lightbulb
Sun (00), In Absentia (02), Deadwing (05)
30
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
The FLOWER KINGS - Sweden (1995)
SYMPHONIC PROGRESSIVE ROCK
Formed in 1993 by veteran guitarist/composer/singer Roine
Stolt (ex-KAIPA), The FLOWER KINGS have 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 prog movement. In ten years, they have released an
album almost every year, sometimes including double-CDs
with extended playing times. The FLOWER KINGS’ music is
perhaps best described as “symphonic” (i.e., influence from
YES and GENESIS), with some jazz “overtones” (e.g.,
influence from CAMEL).
Roine Stolt is the primary composer for The 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 projects and jaunts
around the world, Roine Stolt also recorded two albums with
new “supergroup” TRANSATLANTIC (2000 and 2001),
which also features bassist Pete Trewavas (MARILLION),
keyboardist Neal Morse (SPOCK’S BEARD) and drummer
Mike Portnoy (DREAM THEATER).
BEST ALBUMS:
Back In The World Of Adventures (95), Retropolis (96),
Stardust We Are (97), Space Revolver (00)
ARENA - England (1995)
NEO-PROGRESSIVE (NEO-PROG)
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 has 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.
BEST ALBUMS:
Songs From The Lion’s Cage (95), The Visitor (98), Immortal?
(00), Contagion (02)
SPOCK’S BEARD - USA (1995)
SYMPHONIC PROGRESSIVE ROCK
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
supergroup TRANSATLANTIC, which also features guitarist

Roine Stolt (The FLOWER KINGS), bassist Pete Trewavas
(MARILLION) and drummer Mike Portnoy (DREAM
THEATER). Morse also sang on AYREON’s “The Universal
Migrator Part One: The Dream Sequencer.” In 2003, Neal
Morse had a “conversion experience,” leaving SPOCK’S
BEARD to pursue his life as a Christian. However, he did not
give up music. Quite the contrary! Mr. Morse has released four
solo albums since his departure from SPOCK’S BEARD, all of
which are as progressive, if not more so, than his former band.
Indeed, these albums - “Testimony” (2003), “One” (2004), “?”
(2005), and Sola Scriptura (2007) - may well be seen as the
birth of a new sub-genre : Christian Progressive Rock!
BEST ALBUMS:
The Light (95), V (00), Snow (02)
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.
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. If you know
the three bands mentioned above, then you are familiar with
“progressive metal.” If you do not, then know that “progressive
metal” combines “heavy metal” elements (e.g., raw power,
speed and dynamic rhythmic passages) and “progressive”
elements (e.g., 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 to anything.
Although many progressive metal 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 - who
themselves had yet another “revival” of their own in the
Nineties. Because of their unique place in the creation of
“progressive metal,” a special note is required here.
RUSH - Canada (1974)
3 musicians, 3 albums per cycle, 3 decades
Combining progressive elements (e.g., YES, ELP) and
“straight” hard rock/metal elements, RUSH are, consciously or
not, almost unquestionably the founders, or at least the primary
progenitors, of “progressive metal.” Indeed, almost every
“progressive metal” band playing today cites RUSH as its
primary influence. RUSH began in the mid-Seventies with a
4- THIRD WAVE - 1990s
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 progressive rock” (“Permanent Waves”). It was this
sound that many of the “third wave” groups picked up on, and
which would become a “progenitor” for “progressive metal.”
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 policies 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
“Metropolis Pt. 2: 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-instrumen-
talist Arjen Lucassen) is one of the great groups of the
neo-progressive/progressive metal scene, making use of many
talented 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 happening 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 millennium. 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)
PROGRESSIVE METAL
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). Their music
combines hard rock rhythms, melodic lines, and progressive
elements and arrangements. Lyrics range from poetic to
abstract to Gothic. DREAM THEATER’s influences - which
31
FORTY YEARS OF HISTORY
 4- THIRD WAVE - 1990s

have been synthesized into a powerful, dramatic presentation - metal with Gothic tendencies, and falls somewhere between
include the heavier sounds of RUSH, IRON MAIDEN and FATES WARNING’s “Parallels”/“Inside Out” stage, and early
METALLICA, combined with the progressive elements of GENESIS and PINK FLOYD. Year after year, album after
bands such as PINK FLOYD, KING CRIMSON and YES. album, their music changes little by little, getting closer and
closer not only to classic “progressive,” but claiming a unique
DREAM THEATER has developed and built on this formula
place in the progressive genre.
for 17 years, has sold millions of albums in the U.S. and
Europe, and sell out every tour. Their second album, “Images BEST ALBUMS:
And Words” (1992), is considered by many as a “reference The Perfect Element Part I (01), Remedy Lane (02), Be (04)
point” for progressive metal, a sort of “heavy metal”
The End of the Third Wave
counterpart to what YES’ “Close To The Edge” is for many
progressive rock fans. Today, “progressive rock” lives primarily in groups such as
England’s PORCUPINE TREE, Sweden’s The FLOWER
BEST ALBUMS:
KINGS and PAIN OF SALVATION, and the U.S.’s SPOCK’S
Images And Words (92), Awake (94), Metropolis Pt. 2: Scenes
BEARD and DREAM THEATER. Groups such as
From A Memory (99), Train Of Thought (03), Octavarium (05)
RADIOHEAD, GODSPEED YOU BLACK EMPEROR,
AYREON - Netherlands (1995) NINE INCH NAILS, OPETH and SIGUR ROS are new bands
PROGRESSIVE METAL that have embraced progressive elements in an effort to create
interesting music in their own styles. Magazines (extensive
Between 1984 and 1992, Dutch multi-instrumentalist,
reviews, concerts, interviews) and distributors (which means
composer and singer Arjen Lucassen released four albums with
recording, mixing, mastering, visual identity and artwork)
VENGEANCE before that band’s break-up. In 1994, his dream
provide much-needed support for these groups and the genre
project - AYREON (not actually a band name, but a title for a
in general.
series of rock opera projects) - was born, and released its first
album, “The Final Experiment,” the following year. Since However, there are still flourishing (if largely "underground")
then, AYREON has released seven more albums, though progressive scenes in Western Europe United Kingdom, Italy,
AYREON remains largely unknown to the general public. Holland), Eastern Europe (Hungary, Poland), the US, Canada,
Lucassen also got involved in other projects, including STAR South America (Brazil) and Japan, with yearly festivals or
ONE’s “Space Metal” (2002) and another band-oriented outfit, concerts being held for enthusiasts, as well as an extremely
AMBEON. passionate worldwide online fan base and community.
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
changes 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 for lovers of hard progressive and strong
melodies...!
BEST ALBUMS:
The Final Experiment (95), Into The Electric Castle (98), The
Universal Migrator Part I & Part I II (00), 01011001 (08)
PAIN OF SALVATION - Sweden (1997)
PROGRESSIVE METAL
Formed by singer, guitarist and songwriter Daniel Gildenlow
(ex-REALITY), PAIN OF SALVATION (POS) 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). POS always pushes the limit of progressive

32
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
 4- THIRD WAVE - 1990s

CONCLUSION
With the advent of the World Wide Web - 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 which 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 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!
‘’I invented my own wisdom
Like a counterfeiter’s stash
But I couldn’t create my own heaven
Just a lot of worthless trash.’’
Help me / The Spirit An The Flesh
NEAL MORSE : ‘’One’’ (2004)

33
FORTY YEARS OF HISTORY
 INDEX E - Top 20 Prog Albums
VINTAGE PROGRESSIVE ROCK AND MORE
http://www.vintageprog.com/
Hello Prog Fans:
These are my picks for the 20 all-time BEST PROGRESSIVE
ROCK ALBUMS. This list is meant to provide an overview of
progressive rock as it existed in its heyday from late 1970 to
1979, and should serve as a good starting point for those of you
who are new to the genre.
These albums were chosen for their original use of multi-
movement compositions involving theme, structure and scope,
in addition to their impact on this vital genre of music. Once
you become more familiar with this body of music, you can
explore less accessible-sounding progressive rock groups that
draw on their influences.
Please keep in mind that these are my personal opinions and
may differ from your own perspective. They are listed in alpha-
betical order by artist name.
Thanks…and interesting reading!
Tommy Schønenberg, NORWAY
[My thanks to Tommy for his generous assistance in
providing reviews of the all-time best progressive rock
albums. - Ronald Couture]
34
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
BANCO DEL MUTUO
SOCCORSO
DARWIN!
(RICORDI 1972)
BANCO DEL MUTUO
SOCCORSO obviously experi-
enced a blast of creativity early in
their career, as they followed up
their classic debut album with the
even more impressive “Darwin!” later the same year. This
concept album about evolution could also very well be the
band’s definitive artistic statement. Much of the material on
the record has a quite dramatic and intense feel, especially on
side one, which is made up of two lengthy pieces. First up is
the nearly 14-minute “L’Evoluzione” that features plenty of
strong, dramatic melodies, complex chord changes, and the
first - and some of the best - examples of the Nocenzi brothers’
very creative use of synths. The musical drama is maintained
by the nearly 9-minute “La Conquista Della Posizione Eretta”
that follows. Most of the track is a complex instrumental with
more of the Nocenzi brothers’ impressive keyboards, and with
an overall quite dark tone. The theme, accompanied by
Pierluigi Calderoni’s powerful timpani, is especially eerie. The
track ends with an emotional vocal part, giving it a musical
structure similar to “Metamorfosi” from the band’s debut
album. This is simply progressive rock at its very best. The
second side consists of shorter tracks, but with the same
complexity and quality as those on the first side. “Danza Dei
Grandi Rettili” is a catchy, jazzy instrumental in which the
synths seem to mimic some sort of brass to very cool effect.
“Cento Mani E Cento Occhi” is the most complex track on this
“side,” starting out very intense, energetic and chaotic, but
gradually getting more melodic and harmonic. The beautiful
ballad, “750.000 Anni Fa…L’Amore,” shows vocalist
DiGiacomo’s strongest side, as well as featuring a symphonic
instrumental mid-part with more distinctive synths. The
spooky and spoken vocal part of “Misere Alla Storia” has a
very theatrical feel, but most of the track is based around an
organ riff that must have made Keith Emerson jealous. The
album ends on a rather modest note with “Ed Ora Io Domando
Tempo Al Tempo (Ed Egli Mi Responde: Non He Ho!),” which
sounds like some sort of Italian folk song with a progressive
arrangement. “Darwin!” remains one of the best albums to
come out of the 70s Italian progressive rock scene - and that’s
no small achievement.
CAMEL
THE SNOW GOOSE
(DECCA 1975)
“The Snow Goose” is an
instrumental concept album based
on Paul Gallico’s book of the same
name, and is often regarded as
CAMEL’s finest moment. The
sound of the album is far more

symphonic, polished and atmospheric than anything on their
first two albums, and features some of their strongest ever
melodies and themes. A few passages also include some
orchestration, giving a very big and impressive sound. Many
of the tracks on the album are rather short (there are 16 of
them!), but all of them float into one another, creating a 45-
minute constant flow of music. The album opens with the lush,
symphonic sounds of “The Great Marsh” and moves into
“Rhayader,” which, along with “Supertwister,” stands as the
best flute theme ever written by guitarist-composer Andy
Latimer. The more complex “Rhayader Goes to Town”
demonstrates the instrumental abilities of all the members very
well, even if Latimer and keyboardist Peter Bardens remained
the primary musicians. “Fritha” and “Rhayader Alone” show
Latimer from his most beautiful and utterly atmospheric side,
while the title track shows his melodic guitar playing from its
best side. Although the album is primarily instrumental,
“Migration” does in fact feature some vocals, though no lyrics:
just a very catchy vocal-theme sung by Latimer. Side 2 opens
with the cheerful “Flight Of The Snow Goose” that quickly
moves into the more free-floating “Preparation,” which offers
some truly haunting atmospheres. “Dunkirk” is orchestrated
progressive rock at its most powerful and majestic, building
slowly up to an energetic finale. Then come some short and
atmospheric interludes before “La Princesse Perdue,” which
re-visits several earlier themes on the album. Finally, the entire
album slows down gently, returning to the opening “The Great
Marsh,” which slowly fades out and marks the ending of one
of progressive rock’s most memorable and successful
instrumental albums. Very essential stuff!
CARAVAN
IN THE LAND OF GREY AND
PINK
(DERAM 1971)
CARAVAN’s definitive master-
piece, and probably the very first
“Canterbury” album you should
check out. Side one is comprised
of four light and nice tracks. The
best (and most progressive) of these is probably “Winter
Wine.” Great themes, melodies and the typical CARAVAN
sound dominate this mellow and excellent track. “Golf Girl”
shows the band at its least serious side, though some trumpet
and Mellotron take care of the progressive sound. “Love To
Love You” is a pure and very catchy pop track. The title track
is a mellow and nice song that fits the atmosphere of the cover
quite well. However, what really makes the album essential is
the fantastic, 22-minute “Nine Foot Underground.” This
incredible piece of art gets my vote as one of the ten best
progressive rock tracks ever. The track is made up of the best,
most inspired and energetic jams, instrumental and vocal parts
that CARAVAN has ever done. The excellent and distinctive
organ sound comes to the fore, and the track as a whole is
simply as perfect as it gets. An essential album for any serious
INDEX E - Top 20 Prog Albums
progressive rock collection.
ELOY
OCEAN
(HARVEST 1977)
This classic concept album about
the rise and fall of Atlantis is, for
many people (including me),
ELOY’s best work. The album
consists of four lengthy tracks in
which the band manages better
than ever to combine its atmospheric sound with really strong
themes and melodies. The opener, “Poseidon’s Creation,” is
one of ELOY’s best tracks ever, stuffed with a heavy organ riff,
atmospheric Moog themes, a melodic vocal part, and a very
majestic ending with a choir. “Incarnation Of The Logos” has
the usual sci-fi atmosphere of ELOY, with a beautiful
instrumental theme in the middle. “Decay Of The Logos” is a
very dramatic track with lots of typical 70s German-sounding
keyboards. The first part of the 16-minute “Atlantis Agony At
June 5th - 8498, 13 p.m. Gregorian Earthtime” (!!!) sounds
almost like Klaus Schulze with narration. The track builds up
in the middle to yet another very powerful and majestic
progressive tune. “Ocean” remains ELOY’s finest moment,
simply because it features some of their best material and
atmospheres, and the band manages to make something
completely their own - something that reminds one of no other
progressive rock band. Along with NOVALIS’
“Sommerabend” and GROBSCHNITT’s “Rockpommel’s
Land,” this is one of the essential symphonic progressive rock
albums from Germany.
EMERSON, LAKE &
PALMER
BRAIN SALAD SURGERY
(MANTICORE 1973)
“Tarkus” is ELP’s best track, but
their best ALBUM, in my opinion,
is “Brain Salad Surgery.” This
shows just how “over the top”
ELP could be without falling
down on the other side of it (like they did later). The album
opens with an absolutely beautiful version of the old English
hymn, “Jerusalem.” Hearing Greg Lake’s wonderful voice
against Keith Emerson’s mighty church organ gives me goose
bumps every time. Then you’re in for one of ELP’s most
experimental pieces ever with their version of Ginastera’s
“Toccata.” The organ parts are in the vein of the most
aggressive parts from “Tarkus,” while the synths and
electronic parts are some of the weirdest and most freaked-out
playing Emerson ever did. The first self-written track on the
album is Lake’s magical “Still…You Turn Me On.” This is
easily one of his strongest songs ever. Oh, and Peter Sinfield
was now the man who was writing lyrics for the band, thus
making sure that the band delivered top-notch stuff in that
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FORTY YEARS OF HISTORY
 INDEX E - Top 20 Prog Albums
department, too! Unfortunately, you then have to suffer
through a few minutes of 100% pure garbage in “Benny the
Bouncer.” Sorry, guys - you’re not funny at all, so you would
be better focusing on making good progressive rock instead of
pretending to be comedians. And making good progressive
rock was just what the boys did on the rest of the album, which
consists of the 30-minute “Karn Evil 9.” The piece was so long
that they actually had to start on Side 1 and then continue it on
the whole of Side 2! Only “Tarkus” can rival this masterpiece
as ELP’s best composition ever. This is keyboard-based
progressive rock heaven, stuffed with masterful instrumental
passages, and strong riffs, themes and melodies all the way
through. A stunning masterpiece in the history of progressive
rock! But time would show that this was also ELP’s last
classic album.
GENESIS
SELLING ENGLAND BY THE
POUND
(CHARISMA 1973)
Back in the studio again,
GENESIS made perhaps their best
album with “Selling England
By The Pound.” The record is
a flawless masterpiece that
demonstrates some of the best and most perfect songwriting,
arrangements, production and performance to be found in 70s
symphonic progressive rock. The album also showed
GENESIS from their most British side, as most of the lyrics
were influenced by British history, legends and folklore. Steve
Hackett delivers my all-time favorite guitar solo in the
stunningly beautiful “Firth Of Fifth.” “The Cinema Show”
starts as a typical GENESIS tune of the quiet and atmospheric
kind, but builds up to an impressive and mighty instrumental
part that I wish could go on forever. And at the very end, it
returns to the main theme of the fantastic opener, “Dancing
With The Moonlit Knight” - which could very well be my
ultimate favorite GENESIS track. Phil Collins is also allowed
to sing a few lines in the laid-back “More Fool Me,” in which
the simple arrangement offers a comfortable break from the
mighty and majestic cascade of sound on the rest of the album.
“The Battle Of Epping Forest” has some of the most complex
lyrics that Peter Gabriel ever wrote, and the album even scored
the band’s first hit single with “I Know What I Like (In Your
Wardrobe).” The sound and style of the latter track would point
forward to the next album.
GENTLE GIANT
IN A GLASS HOUSE
(WWA 1973)
Saxman/Trumpeter Phil Shulman
left GENTLE GIANT after
“Octopus.” Yet instead of finding
a replacement, the band decided to
continue just as they were. And
it seemed to have absolutely no
36
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
negative effect, as they delivered yet another one of their very
best works with the masterful “In A Glass House.” The opener,
“Runaway,” starts with the sound of glass breaking
rhythmically, and has everything you expect from a Gentle
Giant classic: weird rhythms, quirky riffs, ethereal vocal
harmonies, jazzy passages with xylophone solos, medieval
influences, and an overall breathtaking complexity that few
other bands have mastered. No wonder why this song became
a permanent part of their concert repertoire. “An Inmate’s
Lullaby” is perhaps their most percussive track ever. It’s a very
laid-back and atmospheric song, with mildly distorted vocals
(not unlike KING CRIMSON’s “Moonchild”) and an
arrangement that consists of nothing but various percussion.
The main part of “Way Of Life” is a fast-paced and aggressive
tune, but also features complex keyboard themes and a more
symphonic and melodic part in the middle (in the style of
“Think Of Me With Kindness”) which also appears again
toward the end of the song. “Experience” starts as a
medieval-influenced song with a fairy tale-like melody sung by
keyboardist Kerry Minnear. The vocals are not surprisingly
switched over to Derek Shulman for the heavy and ballsy
mid-part. “Reunion” is a short and tender acoustic ballad, and
could not possibly be more different from the ultra-complex
title track that follows. The title track starts like an upbeat jig,
followed by a medieval-like main melody before returning to
the jig again. The pace then changes drastically as the song
becomes slightly jazzier and the rhythms change faster than
you probably can take in on a first listen. The tune pretty much
then stabilizes itself into a rocking and heavy mid-tempo song,
but the unexpected chord changes and complexity continues
even here. There’s also a short and bluesy acoustic guitar solo
- very unusual for GENTLE GIANT - mixed in with the
medieval “surroundings” and heavy riffs. “In A Glass House”
is just as good as “Octopus” and, of course, just as essential.
HAWKWIND
WARRIOR ON THE EDGE OF
TIME
(UNITED ARTISTS 1975)
The band’s fifth studio release
turned out to be their most
ambitious album ever, and the
cover that folded out into a shield
was just the first clue. They hired
sci-fi writer Mike Moorcock to help with some of the lyrical
concept, and he also reads several poems in between the tracks.
Never before or after did HAWKWIND (or any other band, for
that matter) better blend old-fashioned fantasy elements with
futuristic sci-fi and space influences. And the material - and
not least the arrangements - is some of the band’s best ever.
The first two tracks - “Assault And Battery” and “The Golden
Void” - float into each other, and, along with “D-Rider,” these
are HAWKWIND’s most majestic and biggest-sounding tracks
ever. The arrangements here have to be heard to be believed.
Tons of Mellotron, synths and distorted sax and flute create a
very unique sound that actually sounds like no other band. The
 INDEX E - Top 20 Prog Albums

guitar is unusually toned down here, but becomes more KING CRIMSON
dominant in the mix later on the album. After a short poem, IN THE COURT OF THE
we’re then taken straight away into space in the hypnotic and CRIMSON KING
dreamy instrumental, “Opa-Loka.” “The Demented Man” is (ISLAND 1969)
another of those lovely acoustic HAWKWIND tunes in which
No serious progressive rock fan
the band really manages to keep the obligatory “space” feel.
can be without at least four or five
The energetic “Magnu” is the first track on the album to
KING CRIMSON albums in his
feature a heavier riff, but it is actually more dominated by
collection. While their output was
Simon House’s excellent violin playing. This could very well
not always the most even one, they
be his best performance on a HAWKWIND album. Then we
were undoubtedly one of the most important and influential
get more poems by Moorcock, and another spacey, synth-
progressive rock bands ever. They also recorded with unstable
drenched instrumental, “Spiral Galaxy 28948.” The album
line-ups and shifting personnel, but leader and guitarist Robert
closes with “Kings Of Speed,” a catchy, straightforward rock-
Fripp kept the band going, no matter how often the other
er that was chosen as the single from the album. Dave Brock
members came and went. “In the Court Of the Crimson King”
himself regards “Warrior On The Edge of Time” as the band’s
is the definitive debut album by a progressive rock band.
crowning achievement, and most progressive rock fans rate it
There is absolutely no doubt or question about it, and it
next to “Hall Of The Mountain Grill” as HAWKWIND’s best
remains for me CRIMSON’s best album ever. The fact that I
album.
can forgive the 10 completely pointless minutes of tuning
JETHRO TULL instruments in “Moonchild” gives a clue as to how extremely
AQUALUNG good the rest of the album is. The legendary opener, “21st
(ISLAND 1971) Century Schizoid Man,” is a heavy, complex, raw, angry and
ultra-energetic showcase of angry, sax-driven progressive rock.
JETHRO TULL started in the late
Greg Lake spits out the lyrics with a distorted effect on his
60s as a basic blues-rock band, but
voice to underline the aggression and anger in both the music
leader-songwriter-singer-flutist
and lyrics. And speaking of lyrics, let’s not forget about
Ian Anderson would gradually
CRIMSON’s permanent lyricist, Peter Sinfield, who in my
transform them into one of the
opinion wrote some of the best and most poetic lyrics in
leading progressive rock acts of
progressive rock. His lyrics may seem weird and hard to
the 70s. Their evolution toward progressive rock reached its
understand at first, but most people with a certain degree of
peak with the classic “Aqualung.” The album has a kind of
imagination will be able to understand most of his genius
split-concept in which the first side features songs about poor
metaphors. The rest of the record is more mellow and
people and social/class differences, while the second side is
symphonic, with the Mellotron creating an often sinister carpet
about the problems of evil and organized religion. Musically,
of sound that perfectly fits the mood of the music and lyrics. “I
the album is a superb blend of heavy progressive rock mixed
Talk To The Wind” is actually one of the “brightest” moments
with tasty acoustic melodies dominated by Anderson’s
here, with a pleasant and relaxed melody that is beautifully
distinctive flute playing and Martin Barre’s excellent guitar
surrounded by flute. “Epitaph” is far darker and features one of
riffs. The opening title track demonstrates all sides of the band
Sinfield’s best lyrics ever. Just the Mellotron combined with
very well, and is the best song on the album, even if it’s one of
Fripp’s mellow guitar tones at the beginning is enough to make
the few TULL tracks to feature no flute at all. “Cross-Eyed
me shiver. The first two minutes of “Moonchild” is some of the
Mary” starts with some Mellotron and flute before it goes into
prettiest music that CRIMSON ever recorded, but the 10
a crunching rocker in which Anderson sings aggressively about
remaining minutes of the song unfortunately demonstrates one
a female Robin Hood. “Mother Goose” and “Wond’ring
of the problems with CRIMSON. Fripp obviously had a desire
Aloud” are among TULL’s finest acoustic ballads, with
to include on most albums something so experimental and
beautiful melodies and tasty string arrangements. Side 2 starts
weird that it more or less lacked any musical value, and the last
with the sinister “My God” which, next to the title track, is the
10 minutes of “Moonchild” is this album’s example of that
most progressive song on the album. The mid-part where a
desire. But it’s still bearable enough to listen to, especially
choir joins Anderson’s flute is one of the most magical
since you have the fantastic title track waiting for you
moments here. The blasphemous “Hymn 43” shows TULL
afterwards. The title track is simply so beautiful and majestic
from their most rocking and catchy side, but “Locomotive
that it can’t be described in words. Nobody until then had used
Breath” captures that side of the band even better, with one of
the Mellotron in a better, more powerful and symphonic way
the greatest rock riffs in history. The closing number, “Wind
than this. Everything goes straight out the window each time
Up,” starts as a ballad, but turns into yet another hard-rocking
the chorus appears. Symphonic progressive rock cannot
tune with a great sense of melody and a quite progressive
possibly get any better than this. “In The Court Of The
structure.
Crimson King” is the ultimate KING CRIMSON record, and
one of progressive rock’s most magical moments.

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FORTY YEARS OF HISTORY
 INDEX E - Top 20 Prog Albums

THE MOODY BLUES FLOYD has made better and more progressive albums than
DAYS OF FUTURE PASSED this one, but it’s impossible to deny the fact that it’s their (and
(DERAM 1967) one of rock’s) most successful record in terms of sales.
Yes, I know The MOODY BLUES PREMIATA FORNERIA
are not the most complex band, MARCONI
but their influence on progressive PER UN AMICO
rock (and especially the (NUMERO UNO 1972)
symphonic aspect of it) is highly
PREMIATA FORNERIA MAR-
underrated. They were one of the
CONI (PFM) released what many
first bands to play rock with a symphonic sound, and they were
consider to be their best album
in fact the first band to use the “holy” Mellotron. So actually,
with “Per Un Amico.” The opener,
every band that uses a Mellotron was influenced by the
“Appena Un Po” is my personal
Moodies, like it or not! They originally started as a normal pop
favorite song by the band: the melodies and complex
band, but they turned into a symphonic band when
arrangements are just so stunningly beautiful. Symphonic
guitarist Justin Hayward and bassist John Lodge joined them.
progressive rock doesn’t get any better than this. And the
“Days Of Future Passed” is considered by some people to be
album never lets up after this. The title track and “Il Banchetto”
the very first progressive album, and I agree completely. The
both show slight influence from GENESIS, while “Geranio”
album’s concept tells about a day in the life of an average man.
has more of a GENTLE GIANT feel. But even though you
It was also the first attempt at mixing a classical orchestra (the
hear inspiration from other bands in their music, PFM always
London Festival Orchestra) with a rock band. Although they
keeps their own sound and identity intact. The complex and
failed to “meld” the two (the orchestra and the band rarely play
energetic instrumental, “Generale,” bounces from hard riffs to
together at the same time), the album is saved by the good and
whimsical vocal parts, and then to medieval folk music. With
inspired songwriting. “Nights In White Satin” (the Moodies’
“Per Un Amico,” PFM shows that they rival even the best
signature tune) and “Tuesday Afternoon” are the best-known
British progressive bands. This is a great place to start if you’re
tracks here, and very typical of the classic MOODY BLUES
not yet familiar with classic Italian progressive rock.
sound. Melancholic, emotional and beautiful melodies are
played in tasty arrangements that include Mellotron, flute and LE ORME
high vocal harmonies. Each of the band members usually FELONA E SORONA
contribute two to three songs on each album. Justin Hayward (PHILIPS 1973)
is responsible for most of the best-known songs, but all of the
Most people regard this as Le
members are talented songwriters. Overall, this is an amusing
ORME’s masterpiece, and it’s not
album with both historical and musical value. Important stuff
hard to understand why. “Felona
for anyone who wants to explore the roots of symphonic rock.
E Sorona” is a concept album that
PINK FLOYD flows perfectly from start to
DARK SIDE OF THE MOON finish. From what I’ve heard, the
(HARVEST 1973) concept is something about two different planets. In any case,
the music is awesome and the album has a sound all its own.
It’s almost impossible not to have
I’ve never heard an organ sound like this before; it’s nearly
heard this album is you have the
impossible to describe. You have to hear it for yourself. The
slightest interest in rock music.
closest comparison would probably be the keyboard sound of
“Dark Side Of The Moon” is
the classic ANGE albums. The atmosphere is quite dark and
perhaps the most overplayed and
mellow all the way through. Among the highlights are “Sospesi
overexposed album ever, and
Nell Incredible,” “Attesa Inerte,” “All Infuori Del Tempo,” and
personally I’m so sick and tired of it that it’s not easy for me to
the very powerful closing track, “Ritorno Al Nulla.” But there
judge its musical qualities any longer. However, what I’m
isn’t much meaning in pointing out highlights since the album
really sure about is that I’ve never cared much for “Money,” as
works best in its entirety. Essential stuff from the Italian
I think it’s a boring and half-assed tune and a cheap attempt at
progressive rock scene. As an aside, Peter Hammill (founder of
making a hit song. The rest of the album is far better, with
VAN DER GRAAF GENERATOR) was probably a fan of the
tracks like “Breathe,” “Us And Them” and “Brain Damage”
band, since he wrote the lyrics for the English version of the
defining the classic PINK FLOYD sound very well, with their
album.
slow pace and mellow vocal melodies. “Time” has always been
my personal favorite on the record. And in between these
songs, the band also stretches out instrumentally on tracks like
the experimental “On The Run” and the synth-drenched “Any
Colour You Like.” Personally, I’ve always felt that PINK

38
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK

RENAISSANCE
SCHEHERAZADE AND
OTHER STORIES
(BTM 1975)
This is the album that many
progressive rock fans consider to
be RENAISSANCE’s crowning
achievement, and it was certainly
the band’s most ambitious album.
It’s best known for its monumental 25-minute, 9-part title track
that is based on one of the stories from “1001 Arabian Nights.”
Along with an orchestra, there is now also a choir that makes
the sound even bigger and more grandiose than before. The
suite is carefully constructed with beautiful themes and
melodies relieving each other all the way through. Not a
single second of it is repetitive or redundant, making the
composition a true masterpiece of its own. But we shouldn’t
forget about the three shorter, but still excellent, tracks that
make up the first “side” of the album. “Trip To The Fair”
features one of the best fairy tale moods the band ever
managed to create. “The Vulture Flies High” is a short, almost
pop-oriented, but utterly tasteful tune with lots of energy and
an overall very catchy feel. “Ocean Gypsy” is the second
best-known track from the album, and is typical of classic
RENAISSANCE. It’s got a very beautiful and slightly
folk-influenced main melody and wonderful instrumental
passages dominated by John Tout’s piano. “Scheherazade And
Other Stories” is essential stuff for anyone into symphonic
progressive rock and great music in general.
RUSH
A FAREWELL TO KINGS
(MERCURY 1977)
In my opinion, this album has
RUSH’s most fully realized
progressive sound. The group had
begun to use mini-Moogs, and
drummer Neil Peart was using a
lot of bells and other percussion
which added new colour to the band’s sound. This can be
heard very well in the fantastic 11-minute “Xanadu,” which
gets my vote as RUSH’s best track next to “2112.” The mini-
Moog is used in a very tasteful way, and the whole track has a
kind of fairytale-paradise atmosphere that is irresistible. There
are other very atmospheric parts on here too, like the acoustic
intro to the title track, and the relaxed “Madrigal.” “Cygnus X-
1” is possibly RUSH’s most complex track ever, and its “story”
is continued on the next album. “Closer To The Heart” was the
single from the album, and became the band’s first hit. I think
I would way that this is the best place to start if you want to get
into RUSH - and you should really want to do so!
INDEX E - Top 20 Prog Albums
THE STRAWBS
GRAVE NEW WORLD
(A&M 1972)
Rick Wakeman had left The
STRAWBS the year before to join
YES, and was replaced by Blue
Weaver. With this new line-up,
the band would finally develop
their distinctive, melodic,
symphonic progressive sound with strong folk roots. “Grave
New World” was their first symphonic album, and remains for
many people the best STRAWBS release. The record came
wrapped in a fantastic triple gate-fold sleeve, complete with a
beautiful booklet. The songs on the album are rather short and
not very complex for progressive rock. Their strength lies in
the very strong melodies and delightful arrangements that are
full of organ, Mellotron, tasty acoustic and electric guitar, and
beautiful folky vocal harmonies. The excellent and
thought-provoking lyrics of David Cousins are another
strength of the band. His lyrics reveal lots of social conscience
and, often - and especially on this album - religious overtones.
“Benedictus” and “The Flower And The Young Man” are two
of The STRAWBS’ most touching and beautiful songs, while
the dramatic title track, with its genius twist in lyrics (“Grave”
instead of “Brave”), is a harsh comment about the conflict in
Northern Ireland. “Queen Of Dreams” experiments a lot with
backward tapes and has a really weird mid-part, although the
song itself is based on a rather simple and nice folk melody
with a beautiful Mellotron flute on top. “Tomorrow” is the
most conventional progressive track here, and brings to mind a
bit of heavy GENESIS. There are also a bunch of very short
acoustic pieces spread throughout the album, serving as nice
breaks between the darker tones of the main tracks. This should
be your first album by The STRAWBS.
SUPERTRAMP
CRIME OF THE CENTURY
(A&M 1974)
[Review by Bob McBeath]
“Read all about their schemes
and adventuring - it’s well worth
the fee.” With “Crime Of The
Century,” SUPERTRAMP became
a major league band overnight. I
first heard the album when it was played live on tour. The
performance consisted of the entire album presented in track
order. I suspect that most of the audience joined me the
following day in buying the album. This classic album starts
innocuously enough with “School,” something of a “grower”
of a track which only really gets going when Roger Hodgson
assaults his piano. “Bloody Well Right” is a pretty poor Rick
Davies-led track. It’s a bit funky, but bland and uninspired. I
must admit that at this point in the concert I was starting to
despair. However, “Hide In Your Shell” dispelled all concerns,
as it is a masterpiece of melodic prog, featuring the pained
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FORTY YEARS OF HISTORY
 INDEX E - Top 20 Prog Albums

voice of Hodgson. It’s structured along the lines of The YES

MOODY BLUES’ “Isn’t Life Strange?,” but a bit more upbeat. CLOSE TO THE EDGE
There is some wonderful sax and symphonic keyboards, plus a (ATLANTIC 1972)
supreme melody. This really is SUPERTRAMP at their peak.
“Close To The Edge” remains
The album includes the single “Dreamer,” which at the time
many people’s favourite album by
was radically different from anything which had previously
YES, and with good reason. Every
featured in the pop charts, yet has an irresistible hook. It has to
single second of this record
be one of the most progressive singles ever. The title track,
is carefully constructed and
which closes the album, opens with a brief vocal section, the
composed. The side-long title
punch line leading to the wonderful instrumental which closes
track could very well be the best 20-minute song ever, simply
out the album. The music builds majestically from
because it really is ONE song all the way through, and not just
unaccompanied piano through a soothing wash of saxophone
a bunch of different songs and ideas that have nothing to do
(think “Year Of The Cat” by Al Stewart), before the distant
with each other. It starts with the sounds of birds and flowing
harmonica which opened “side one” brings things full circle.
water, setting the atmosphere very well for the rest of the
This was probably SUPERTRAMP’s most progressive effort,
album. It then goes into a rather chaotic part before it slows
and undoubtedly their finest hour. Many of the songs have
down to the wonderful main theme. Here you’ll hear YES’
complex structures while retaining strong melodies. It is
amazing ability to create a very tight and powerful groove
perhaps the strength of those melodies which mislead those
while remaining very symphonic and grandiose. The
who listen on a superficial level, and perceive this as a simple
atmospheric and beautiful “I Get Up, I Get Down” part is one
pop-based collection. “Crime Of The Century” is a wonderful
of the most mystical moments in YES’ history, and gives me
album, best heard as a complete piece. I’ll leave it to you to
goose bumps when it builds to Rick Wakeman’s orgasmic
decide whether it’s actually a concept album or not.
keyboard part. The track then returns to the main theme in a
VAN DER GRAAF very grandiose way before it all goes back again to birds and
GENERATOR flowing water. “And You And I” is yet another of YES’ best
PAWN HEARTS and most beautiful moments. Wakeman’s Moog and Mellotron,
(CHARISMA 1971) together with Steve Howe’s airy acoustic guitar, makes some
of the most grandiose and wonderful summer-like atmospheres
VDGG’s most complex and
I’ve ever heard. And the melodies are pure beauty. The closing
challenging album. The three long
track, “Siberian Khatru,” is a more energetic and catchy
tracks are stuffed with typical
progressive rock tune in the “Roundabout” vein, and was their
Hammill-sounding melodies and
opening number in concert for a long time. “Close To The
themes relieved by a progressive,
Edge” will always be among the YES albums that no serious
complex and disharmonic energy that will leave you
progressive rock fan can be without.
breathless. Personally, I think this variation between structured
melodic themes and ugly, noisy and disharmonic parts often
places the music of VDGG in the same vein as KING
CRIMSON, but, of course, with a sound totally of its own.
And to be honest, I think VDGG were a better and more “even”
band than KING CRIMSON were. It may not come as a
surprise that KING CRIMSON founder and guitarist Robert
Fripp is a guest musician on this album. The 23-minute “A
Plague Of Lighthouse Keepers” features absolutely everything
I’ve mentioned, and the arrangements are, as usual,
characterized by the saxophone and very heavy and powerful
organ of Hugh Banton, together with Hammill’s distinctive
voice. The other two tracks - “Lemmings” and “Man-Erg” - are
both over 10 minues long, and contain enough chord changes,
great themes and ideas to keep every thinking
progressive rock fan satisfied. “Pawn Hearts,” “H To He, Who
Am The Only One” and “Godbluff” are VDGG’s best albums.

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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
 INDEX F – Progressive Art: The Most Beautiful ‘Album Covers’
Written by Pierre Dulieu, BELGIUM
Improved and adapated in English by Ian Alterman, USA
Progressive music, like other styles of music, is easily
identified with the superb images reproduced on the CD
covers (i.e., the covers of the booklets). Drawings, sepias,
watercolours, photographs… Many of these images are taken
from science fiction and fantasy (often including the books of
J.R.R. Tolkien), but they all have something in common: they
create a dream-like atmosphere. When "records" were still
produced on vinyl, the most beautiful album covers were often
"double" and, once unfolded, displayed vast frescos of 60 X 30
cm which showed the album's "direction" even more strongly.
Some of these original works are worth fortunes today and are
sought by collectors. Reduced to the miserable size of a CD (12
cm), the covers have lost much of their impact, but have
nevertheless retained much of their quality and emotional
power: groups such as FLOWER KINGS, SPOCK'S BEARD,
TRANSATLANTIC and DREAM THEATER always include
"album cover" images that have a strong capacity to capture the
attention of potential future listeners with a simple glance. And
incidentally, if the desire takes to you to listen to the "wafers"
hidden under these attractive album covers, do not hesitate to
do so! It happens that the music rises to the level of the
pictorial works which they inspired (and vice-versa!)
I - Hipgnosis: Surrealism and Mystification
Some of the most beautiful album
covers of progressive rock were
conceived by a firm of designers
known as Hipgnosis. Founded in
1968 by Aubrey Powell and Storm
Thorgerson (who met PINK
FLOYD founder Roger Waters at
Cambridge), Hipgnosis created
the majority of album covers for
PINK FLOYD, beginning with "A
Saucerful Of Secrets," as well as album covers for many other
groups, such as LED ZEPPELIN, Syd Barrett and Peter
Gabriel.
Hipgnosis’ images are often
photographs of landscapes strewn
with strange objects arranged
in order to create surrealist
environments, always connected
in one way or another to the music
of the group or its lyrical texts.
The example presented here is the
cover of the LP "Elegy" by Keith
Emerson’s group, The NICE,
published in 1971 on the Charisma label. The photo was taken
in the Moroccan desert after the team laid out the red balloons
at the top of a dune and then carefully erased all traces of their
footsteps. Simultaneously both clear and simple yet devious, it
challenges the discoverer and invites further discovery.
Two of the most famous
Hipgnosis album covers - both
selected by Rolling Stone
Magazine in its list of The Top 50
Album Covers of the Century - are
PINK FLOYD's "Dark Side Of
The Moon," with its prism
diffracting the light against
a black background, and LED
ZEPPELIN's "Houses Of The
Holy" (inspired by a famous novel
of Arthur C. Clarke, "Children
of Icare"), a photographic collage
showing naked, innocent,
fairy-like children climbing rocks
towards the light and the end of
the world. Hipgnosis was
dissolved in 1983, but Storm
Thorgerson continued to work
under its name to create extraordinary album covers, among
which are PINK FLOYD's "The Division Bell" (1994) and The
CRANBERRIES' "Bury The Hatchet" (1999).
II- Kim Poor: Diaphanism
A Brazilian artist living in London, Kim Poor invented a
technique of a painting containing glass beads melted on steel.
Salvatore Dali, who met Kim Poor in 1974, was impressed by
her ghostly style, which he described as "diaphanism." In the
world of progressive rock, it was first seen in 1976 on the
album cover of "Voyage Of The Acolyte," the first solo album
by GENESIS guitarist Steve Hackett. (Ms. Poor is Mr.
Hackett’s wife.) A superb watercolour, it was elected Album
Cover of the Year in 1976, and the original artwork was
displayed at the Thumb Gallery in London in 1979.
"Voyage Of The Acolyte" represents a gifted priestess, blind of
premonition, crossing what could be the door of knowledge,
leaving in the past a fixed medieval world. This allegory - with
its pastel colors, winter environment and evanescence -
invokes the Gothic and ethereal musical world of Steve
Hackett, and expresses that world better than words might. In
addition to other album covers for her husband, Ms. Poor has
applied the diaphanism technique to books, lithographs,
enamelled gouaches, and paintings, as well as providing
magical illustrations for the lyrics of GENESIS "‘Genesis
Lyrics," Sidgwick & Jackson, 1979 London). Affinities
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FORTY YEARS OF HISTORY
 Index F - Progressive Art: The Most Beautiful ‘Album Covers’

between these two worlds - the IV- The Worlds of Roger Dean
musical and the artistic - had
Born in 1944, English artist Roger Dean is undoubtedly the
already been established with
best-known artist in the world of progressive rock illustration,
GENESIS when the group record-
thanks to the numerous logos and album covers he has
ed two songs - "Entangled" ("A
conceived since 1971, especially for the groups YES and
Trick Of The Tail," 1976) and
ASIA. Mr. Dean is also the editor of two famous books
"Blood On The Rooftops" ("Wind
devoted to album cover art: the first, Views (1975), is devoted
And Wuthering," 1977) - inspired
to pictorial work, and the second, The Album Cover Album, is
by the imagery of Hipgnosis artist,
dedicated to the history of album cover art. The uniquely
Colin Elgie.
III- Paul Whitehead & Genesis
Although artist Paul Whitehead is also well-known for
multiple achievements in the fields of music and cinema, he
remains best-known for the album covers he created for
GENESIS. The album cover of "Trespass" is among the most
beautiful and surprising: at first glance evoking medieval
world imagery, the front cover also contains a black line
superimposed on the drawing like a gash. Only when the album
cover is unfolded do we see that the line is the notch of a
stylized drawings of Roger Dean use weird landscapes to
dagger seemingly embedded in the album cover. According to
evoke strange worlds inspired by fantasy literature and science
Whitehead, the notch and the knife are real. This dichotomy
fiction. The imposing universes - with glittering lights (often in
between the bucolic universe of the drawing and the brutal tear
tones of blue cobalt), and sometimes populated by mythical
of the knife corresponds to the music of this album, where in
creatures - have been imitated a thousand times, but never
the peaceful innocence which prevails in the majority of the
equalled. Chosen by Rolling Stone Magazine in its list of The
compositions is abruptly broken by "The Knife," one of the
Top 50 Album Covers of the Century, the album cover for Yes'
most aggressive songs ever recorded by the group.
"Tales From Topographic Oceans" illustrates both wonderfully
and with wonder the music and "cosmic" texts of YES. With its
blocks of desert rocks, its sunrise, its Maya temple, its fish
swimming in an azure atmosphere, and its overall magical
feeling, it is the prototype of the Roger Dean style.

The covers of the following albums - "Foxtrot," and, to a

lesser extent, "Nursery Cryme" - continue to surprise by the
revealing use of the "gate-fold" album cover: only when the
covers are unfolded do we see the complete "direction" of the
scene. It should be noted that Paul Whitehead is also the
And yet Mr. Dean's album covers for YES' "Fragile,"
creator of two very beautiful album covers for the group VAN
"Relayer," "Drama," "Yesterdays," "Keys To Ascension" and
DER GRAAF GENERATOR ("H To He, Who Am The Only
"The Ladder" are equally compelling. Images and music have
One" and "Pawn Hearts"), which are more evocative of the
never coincided and supplemented each other more perfectly
world of science fiction.
than on YES collaborations with Roger Dean - to such a degree
that one cannot listen to YES or look at Mr. Dean's covers
without thinking of the other.
V- Mark Wilkinson & Marillion
Born in 1952, English artist Mark Wilkinson is a specialist in
fantasy works that have been used to illustrate book covers,
magazines, publicity materials for films, and album covers.
Within respect to album covers, Mr. Wilkinson became
synonymous with MARILLION. More realistic and ethereal
than the imagery of Roger Dean, Mr. Wilkinson’s album
42 covers are anchored to the lyrics of MARILLION’s original
ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
 Index F - Progressive Art: The Most Beautiful ‘Album Covers’

lead singer, Fish, which are generally darker than those of that is how Hugh Syme works in
YES’ Jon Anderson. They put in play ‘real’ characters and "exploiting" the words :
places, but with a light tone of surrealism. following the famous example of
the cover photograph for The
BEATLES' "Sgt. Pepper" album,
RUSH's album covers are true
enigmas which their fans have
fun decoding down to the finest
detail. On the technical level, the
photograph is irreproachable and
required a considerable amount of technical deployment - to
such a degree that the record company refused to pay the extra
cost of staging the photo, which RUSH had to pay out of its
own pocket.
As Mr. Wilkinson himself puts it very well: there is always a
face behind the mask which distorts reality. "Misplaced VII- Simon Williams: The Carnival of Masks
Childhood" (1985) is a good example of the art of Mark
If Mark Wilkinson is most closely
Wilkinson for MARILLION: the barefoot, stern-faced child in
associated with MARILLION,
the uniform of a drum major appears quite real, but the
Simon Williams is synonymous
contours of the walls behind him grow blurred with clouds and
with the neo-progressive group,
a rainbow, and he is surrounded by motley objects (cage,
PENDRAGON. Its two most
harlequin, chameleon, magpie, wedding ring…) - symbols
famous album covers - "The
belonging to a group of imagery that recurs from one album
Masquerade Overture" and "Not
to another.
Of This World" - are vast narrative
Mark Wilkinson also created frescos filled with animals or
album covers for FISH, ASIA and, fairy-like characters referencing
in a more ‘common’ style, for the fantastic universe of the group. Sumptuous on the
IRON MAIDEN, HAWKWIND artistic level, and including a masterful use of colours, these
and JUDAS PRIEST. He is also multi-coloured artworks are powerfully ingrained images of
the creator of a superb draft album progressive art of the seventies.
cover for PORCUPINE TREE's
"The Masquerade Overture" in
"Lightbulb Sun," which was
particular is extremely well-
ultimately not used by the group.
conceived: its concentric compo-
sition accentuates chaos, while the
VI- Hugh Syme: Exploiting the Words
irradiating light of a bright central
Hugh Syme is the appointed sun becomes increasingly dark
creator of album covers for the and worrying on the edges. With
Canadian group, RUSH. Based its masked characters, magicians,
most of the time on puns that snakes, unicorns, angels and
refer to the titles of the songs or demons, this pictorial image is
album, his images, photographs or unquestionably alluring. Perfectly matched to the dimensions
drawings are highly creative prints of the old 33 rpm discs, the image is less well adapted to the
with a sense of humour. When smaller CD format, in which it becomes difficult to appreciate
RUSH changed its style on its all subtleties.
album, "Signals," Hugh Syme
VIII- Single Works
photographed a Dalmatian "marking his territory" near a fire
hydrant: a strong image with aggressive colors which, once Certain particularly successful
seen, remains in the memory. album covers are isolated (or
limited) works by artists who, for
For the album cover of RUSH's "Moving Pictures," a photo
one reason or another, did not
taken in front of Toronto's Queen's Park Building shows a
persevere in this art form. For
literal moving of pictures (including one of the "witch' Jeanne
example, the illustration of ELP’s
d'Arc, a reference to the song title, "Witch Hunt"), and all the
"Tarkus" should have ensured
"threes" in the photo - three paintings, three arches, three
English painter William Neal a
pillars, three characters in black, etc. - refer to the fact that
brilliant career. However, after his
RUSH is a trio. Other symbols are certainly hidden here, but
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FORTY YEARS OF HISTORY
 Index F - Progressive Art: The Most Beautiful ‘Album Covers’
realization of ELP’s "Pictures At An Exhibition" (and a few
other, lesser-known album covers for both the Island label and
blues and reggae groups), Neal developed a more ‘traditional’
style, specializing in dreamy landscapes and seascapes.
One of the more disturbing album covers of 70s progressive
rock is that of the first KING CRIMSON album, "In The Court
Of The Crimson King." The cover depicts a "schizoid man" of
the 21st century, painted by English artist Barry Godber in
1969. Godber died in February 1970 at the age of 24, so we
will never know whether this was a singular masterstroke, or
whether he might have gone on to create more amazing
images.
Lastly, one cannot forget the singular work requested by Keith
Emerson in 1973 of Swiss painter H.R. Giger for the cover of
ELP’s “Brain Salad Surgery” (a rather suggestive English
expression). The cover (which, for the vinyl album, opened
outward from the middle like double doors to reveal a
cryogenic box) is cold, metal, extraterrestrial, futuristic, and
masterly - like all the work of the brilliant visionary who, a few
years later, would design the biomechanical creature for
director Ridley Scott’s film, "Alien." Giger did do a few other
album covers, including one for MAGMA ("Attahk", 1978),
but none of them can compete with the extraordinary image
created for ELP.
IX- The Changing
Today, with the rebirth of progessive rock, some talented new
artists have emerged. The majority of them gave up the brush
and the xerographer for the computer and Photoshop, since the
CD format requires a modified approach to the design of
‘album covers.’ The large frescos with innumerable details
have disappeared, to be replaced often with images centered on
a single subject. On the other hand, the topics remained the
same: science fiction and fantasy, tales and legends, mythical
characters and odd photographic collages flower again on the
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ESSENTIAL MINI-GUIDE TO PROGRESSIVE ROCK
booklets of compact discs. Some of these new ‘album covers’
give us a hint as to the best new artists, some of whom are
already establishing themselves and creating bright futures.
For example, Per Dennis Nordin
is the creator of album covers
for the progressive "supergroup,"
TRANSATLANTIC. In the
picture, a spaceship flying over an
unbounded ocean offers a simple
and traditional image of science
fiction conceived by computer.
The advantage here is that the
image can be easily modified, and
Nordin has done just that: two different album covers for the
US and European markets - and some interesting variations -
are presented on the band’s website. Nordin has also designed
album covers for FLOWER KINGS.
Antwerp artist Jef Bertels’ cover painting for AYREON’s “Into
The Electric Castle - A Space Opera” is a beautiful surprise.
She points out the fairy-like world of the comic strip “Lanfeust
De Troy.” Beautiful lettering, beautiful colors, the subject
detailed and schematic: the attention is immediately grabbed,
and one wants to see more of this strange planet. Bertels
exhibits the same mastery on AYREON’s “The Dream
Sequencer.” Thomas Ewerhard does not take such a ‘progres-
sive’ or fantastical approach, but has nevertheless designed
some beautiful album covers for SPOCK'S BEARD (“Day For
Night”), THRESHOLD (“Clone”) and especially ENCHANT
(“Station-Wagon”), which captivate by their depth, light and
colors.
Rodney Matthews, a specialist in sci-fi and fantasy, is not actu-
ally new to album cover art, having created more than 70
album covers since his first work for THIN LIZZY in 1969.
However, within the framework of progressive rock, he is
known for his splendid illustrations of three albums by ASIA
(“Aqua” in 1991, “Arena” in 1995 and “Archiva” in 1996), as
 Index F - Progressive Art: The Most Beautiful ‘Album Covers’

well as the album “Jabberwocky” by Clive Nolan and Oliver

Wakeman in 1999.
Let us finish with the group
GLASS HAMMER which, for its
album “The Middle-Earth
Album,” used the Internet to
research images illustrating the
“Lord of the Rings” of J.R.R.
Tolkien. By chance, they fell upon
the website of David Wyatt,
whose fabulous composition,
“The Grey Havens,” was retained
to illustrate the cover of the CD booklet. And there is much
more great art to be discovered in large format on the site of the
author of this article.
X- The Art of Ed Unitsky
Belarussian artist Edward Unitsky lives in a small town some
90 km away from Chernobyl. At the age of 40, he developed a
passion for computer generated arts; being a Progressive Rock
music lover as well, it was natural that he took to combining
both passions. It was Roine Stolt from The FLOWER KINGS
who introduced him to Andy Tillison, leader of PARALLEL
OR 90 DEGREES and founder of Anglo-Swedish project The
TANGENT. The result was this extraordinary sleeve for the
supergroup’s first album; not only one of the best, it was one of
the most original album artworks of recent years.
The TANGENT

"The Music That Died Alone"

(Inside Out) 2003
Inspired by the magical worlds of Roger Dean (the arches
inside the booklet inevitably invite such a comparison), Mr.
Unitsky’s imagery sets itself apart by through a maelstrom of
colours, special effects that simulate aerial movement and the
abounding life that his landscapes suggest. All this, plus an
inclination for vortices and cosmic swirls, can be found on his
web site. The site offers innumerable pictures (some of them
superb wallpapers), created either for sheer pleasure or for
other progressive artists such as The FLOWER KINGS,
TOMAS BODIN, GUY MANNING, The TANGENT and
AYREON. With such power of evocation, Edward Unitsky is
bound to become one of the great architects of Progressive
Rock Art.

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FORTY YEARS OF HISTORY