Progressive rock

Scope and related terms

The term "progressive rock" is synonymous with "art rock", "classical rock" (not to be confused with classic rock), and "symphonic rock".^[11] Historically, "art rock" has been used to describe at least two related, but distinct, types of rock music.^[12] The first is progressive rock as it is generally understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach.^{[12][nb 1]} Similarities between the two terms are that they both describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more likely to have experimental or avant-garde influences.^[14] "Prog" was devised in the 1990s^[15] as a shorthand term, but later became a transferable adjective, also suggesting a wider palette than that drawn on by the most popular 1970s bands.^[16]

Progressive rock is varied and is based on fusions of styles, approaches, and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music, performance and the moving image.^[17] Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes.^[18] When the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock",^{[19][nb 2]} with the term "progressive" referring to the wide range of attempts to break with standard pop music formula.^[21] A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic; technology was harnessed for new sounds; music approached the condition of "art"; some harmonic language was imported from jazz and 19th-century classical music; the album format overtook singles; and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.^[22]

Critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill.^[23] While progressive rock is often cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree,^[24] and only a handful of groups purposely emulated or referenced classical music.^[17] Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s, particularly on Internet forums dedicated to prog.^[15]

According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about progressive rock while "effectively accept[ing] the characterization of progressive rock offered by its critics. ... they each do so largely unconsciously."^[23] Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock.^[18] Author Kevin Holm-Hudson agrees that "progressive rock is a style far more diverse than what is heard from its mainstream groups and what is implied by unsympathetic critics."^[25]

Relation to art and social theories

In early references to the music, "progressive" was partly related to progressive politics, but those connotations were lost during the 1970s.^[15] On "progressive music", Holm-Hudson writes that it "moves continuously between explicit and implicit references to genres and strategies derived not only from European art music, but other cultural domains (such as East Indian, Celtic, folk, and African) and hence involves a continuous aesthetic movement between formalism and eclecticism".^{[26][nb 3]} Cotner also says that progressive rock incorporates both formal and eclectic elements, "It consists of a combination of factors – some of them intramusical ('within), others extramusical or social ('without')."^[28]

One way of conceptualising rock and roll in relation to "progressive music" is that progressive music pushed the genre into greater complexity while retracing the roots of romantic and classical music.^[29] Sociologist Paul Willis believes: "We must never be in doubt that 'progressive' music followed rock 'n' roll, and that it could not have been any other way. We can see rock 'n' roll as a deconstruction and 'progressive' music as a reconstruction."^[30] Author Will Romano states that "rock itself can be interpreted as a progressive idea ... Ironically, and quite paradoxically, 'progressive rock', the classic era of the late 1960s through the mid- and late 1970s, introduces not only the explosive and exploratory sounds of technology ... but traditional music forms (classical and European folk) and (often) a pastiche compositional style and artificial constructs (concept albums) which suggests postmodernism."^[31]

Discover more about Definition and characteristics related topics

Progressive music

Progressive music

Progressive music is music that attempts to expand existing stylistic boundaries associated with specific genres of music. The word comes from the basic concept of "progress", which refers to advancements through accumulation, and is often deployed in the context of distinct genres, with progressive rock being the most notable example. Music that is deemed "progressive" usually synthesizes influences from various cultural domains, such as European art music, Celtic folk, West Indian, or African. It is rooted in the idea of a cultural alternative and may also be associated with auteur-stars and concept albums, considered traditional structures of the music industry.

Progressive pop

Progressive pop

Progressive pop is pop music that attempts to break with the genre's standard formula, or an offshoot of the progressive rock genre that was commonly heard on AM radio in the 1970s and 1980s. It was originally termed for the early progressive rock of the 1960s. Some stylistic features of progressive pop include hooks and earworms, unorthodox or colorful instrumentation, changes in key and rhythm, experiments with larger forms, and unexpected, disruptive, or ironic treatments of past conventions.

Art rock

Art rock

Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental music, avant-garde music, classical music, and jazz.

Classic rock

Classic rock

Classic rock is a radio format which developed from the album-oriented rock (AOR) format in the early 1980s. In the United States, it comprises rock music ranging generally from the mid-1960s through the mid-1990s, primarily focusing on commercially successful blues rock and hard rock popularized in the 1970s AOR format. The radio format became increasingly popular with the baby boomer demographic by the end of the 1990s.

Psychedelia

Psychedelia

Psychedelia usually refers to a style or aesthetic that is resembled in the psychedelic subculture of the 1960s and the psychedelic experience produced by certain psychoactive substances. This includes psychedelic art, psychedelic music and style of dress during that era. This was primarily generated by people who used psychedelic drugs such as LSD, mescaline and psilocybin and also non-users who were participants and aficionados of this subculture. Psychedelic art and music typically recreate or reflect the experience of altered consciousness. Psychedelic art uses highly distorted, surreal visuals, bright colors and full spectrums and animation to evoke, convey, or enhance the psychedelic experience. Psychedelic music uses distorted electric guitar, Indian music elements such as the sitar, tabla, electronic effects, sound effects and reverb, and elaborate studio effects, such as playing tapes backwards or panning the music from one side to another.

Counterculture of the 1960s

Counterculture of the 1960s

The counterculture of the 1960s was an anti-establishment cultural phenomenon that developed in the Western world starting in the mid-1960s, and continued until the early 1970s. The effects of the movement have been ongoing to the present day. The aggregate movement gained momentum as the civil rights movement in the United States had made significant progress, such as the Voting Rights Act of 1965, and with the intensification of the Vietnam War that same year, it became revolutionary to some. As the movement progressed, widespread social tensions also developed concerning other issues, and tended to flow along generational lines regarding human sexuality, women's rights, traditional modes of authority, rights of non-white people, end of racial segregation, experimentation with psychoactive drugs, and differing interpretations of the American Dream. Many key movements related to these issues were born or advanced within the counterculture of the 1960s.

Avant-garde

Avant-garde

In the arts and in literature, the term avant-garde identifies a genre of art, an experimental work of art, and the experimental artist who created the work of art, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus how the artists who created the anti-novel and Surrealism were ahead of their times.

Classical music

Classical music

Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also applies to non-Western art music. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices. A foundational component of Western Culture, classical music is frequently seen from the perspective of individual or groups of composers, whose compositions, personalities and beliefs have fundamentally shaped its history.

Folk music

Folk music

Folk music is a music genre that includes traditional folk music and the contemporary genre that evolved from the former during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, music that is played on traditional instruments, music about cultural or national identity, music that changes between generations, music associated with a people's folklore, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles. The term originated in the 19th century, but folk music extends beyond that.

Paul Hegarty (musician)

Paul Hegarty (musician)

Paul Hegarty is a professor of French and Francophone studies, an author, experimental musician, and lecturer in aesthetics. Hegarty teaches Philosophy and Visual Culture at University of Nottingham.

Bob Dylan

Bob Dylan

Bob Dylan is an American singer-songwriter. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning more than 60 years. Much of his most celebrated work dates from the 1960s, when songs such as "Blowin' in the Wind" (1963) and "The Times They Are a-Changin'" (1964) became anthems for the civil rights and antiwar movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.

Formalism (music)

Formalism (music)

In music theory and especially in the branch of study called the aesthetics of music, formalism is the concept that a composition's meaning is entirely determined by its form.

1966–1970: Origins

Background and roots

The Beatles working in the studio with their producer George Martin, circa 1965

In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock.^[32] Progressive rock was predicated on the "progressive" pop groups from the 1960s who combined rock and roll with various other music styles such as Indian ragas, oriental melodies and Gregorian chants, like the Beatles and the Yardbirds.^[33] The Beatles' Paul McCartney said in 1967: "we [the band] got a bit bored with 12 bars all the time, so we tried to get into something else. Then came Dylan, the Who, and the Beach Boys. ... We're all trying to do vaguely the same kind of thing."^[34] Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). In this period, the popular song began signalling a new possible means of expression that went beyond the three-minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics.^{[35][nb 4]}

Hegarty and Halliwell identify the Beatles, the Beach Boys, the Doors, the Pretty Things, the Zombies, the Byrds, the Grateful Dead and Pink Floyd "not merely as precursors of progressive rock but as essential developments of progressiveness in its early days".^[37] According to musicologist Walter Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul (1965) and Revolver (1966) "encouraged a legion of young bands that were to create progressive rock in the early 1970s".^[38] Dylan's poetry, the Mothers of Invention's album Freak Out! (1966) and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) were all important in progressive rock's development.^[14] The productions of Phil Spector were key influences,^[39] as they introduced the possibility of using the recording studio to create music that otherwise could never be achieved.^[40] The same is said for the Beach Boys' Pet Sounds (1966), which Brian Wilson intended as an answer to Rubber Soul^[41] and which in turn influenced the Beatles when they made Sgt. Pepper.^[42][43]

Dylan introduced a literary element to rock through his fascination with the Surrealists and the French Symbolists, and his immersion in the New York City art scene of the early 1960s.^[44] The trend of bands with names drawn from literature, such as the Doors, Steppenwolf and the Ides of March, were a further sign of rock music aligning itself with high culture.^[45] Dylan also led the way in blending rock with folk music styles. This was followed by folk rock groups such as the Byrds, who based their initial sound on that of the Beatles.^[46] In turn, the Byrds' vocal harmonies inspired those of Yes,^[47] and British folk rock bands like Fairport Convention, who emphasised instrumental virtuosity.^[48] Some of these artists, such as the Incredible String Band and Shirley and Dolly Collins, would prove influential through their use of instruments borrowed from world music and early music.^[49]

Pet Sounds and Sgt. Pepper

Pet Sounds and Sgt. Pepper, with their lyrical unity, extended structure, complexity, eclecticism, experimentalism, and influences derived from classical music forms, are largely viewed as beginnings in the progressive rock genre^[51][52] and as turning points wherein rock, which previously had been considered dance music, became music that was made for listening to.^[53][50] Between Pet Sounds and Sgt. Pepper, the Beach Boys released the single "Good Vibrations" (1966), dubbed a "pocket symphony" by Derek Taylor, the band's publicist. The song contained an eclectic array of exotic instruments and several disjunctive key and modal shifts.^[54] Scott Interrante of Popmatters wrote that its influence on progressive rock and the psychedelic movement "can't be overstated".^[55] Martin likened the song to the Beatles' "A Day in the Life" from Sgt. Pepper, in that they showcase "the same reasons why much progressive rock is difficult to dance to".^[56]

Although Sgt. Pepper was preceded by several albums that had begun to bridge the line between "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture^[57] and marked the point at which the LP record emerged as a creative format whose importance was equal to or greater than that of the single.^{[58][nb 5]} Bill Bruford, a veteran of several progressive rock bands, said that Sgt. Pepper transformed both musicians' ideas of what was possible and audiences' ideas of what was acceptable in music.^[60] He believed that: "Without the Beatles, or someone else who had done what the Beatles did, it is fair to assume that there would have been no progressive rock."^[61] In the aftermath of Sgt. Pepper, magazines such as Melody Maker drew a sharp line between "pop" and "rock", thus eliminating the "roll" from "rock and roll" (which now refers to the 1950s style). The only artists who remained "rock" would be those who were considered at the vanguard of compositional forms, far from "radio friendly" standards, as Americans increasingly used the adjective "progressive" for groups like Jethro Tull, Family, East of Eden, Van der Graaf Generator and King Crimson.^[62]

Proto-prog and psychedelia

This section possibly contains inappropriate or misinterpreted citations that do not verify the text. Please help improve this article by checking for citation inaccuracies. (March 2016) (Learn how and when to remove this template message)

According to AllMusic: "Prog-rock began to emerge out of the British psychedelic scene in 1967, specifically a strain of classical/symphonic rock led by the Nice, Procol Harum, and the Moody Blues (Days of Future Passed)."^[63] The availability of newly affordable recording equipment coincided with the rise of a London underground scene at which the psychedelic drug LSD was commonly used. Pink Floyd and Soft Machine functioned as house bands at all-night events at locations such as Middle Earth and the UFO Club, where they experimented with sound textures and long-form songs.^{[64][nb 6]} Many psychedelic, folk rock and early progressive bands were aided by exposure from BBC Radio 1 DJ John Peel.^[67] Jimi Hendrix, who rose to prominence in the London scene and recorded with a band of English musicians, initiated the trend towards guitar virtuosity and eccentricity in rock music.^[68] The Scottish band 1-2-3, later renamed Clouds, were formed in 1966 and began performing at London clubs a year later. According to Mojo's George Knemeyer: "some claim [that they] had a vital influence on prog-rockers such as Yes, The Nice and Family."^[69]

Symphonic rock artists in the late 1960s had some chart success, including the singles "Nights in White Satin" (the Moody Blues, 1967) and "A Whiter Shade of Pale" (Procol Harum, 1967).^[70] The Moody Blues established the popularity of symphonic rock when they recorded Days of Future Passed together with the London Festival Orchestra, and Procol Harum began to use a greater variety of acoustic instruments, particularly on their 1969 album A Salty Dog.^[71] Classical influences sometimes took the form of pieces adapted from or inspired by classical works, such as Jeff Beck's "Beck's Bolero" and parts of the Nice's Ars Longa Vita Brevis. The latter, along with such Nice tracks as "Rondo" and "America", reflect a greater interest in music that is entirely instrumental. Sgt. Pepper's and Days both represent a growing tendency towards song cycles and suites made up of multiple movements.^[71]

Focus incorporated and articulated jazz-style chords, and irregular off-beat drumming into their later rock based riffs, and, several bands that included jazz-style horn sections appeared, including Blood, Sweat & Tears and Chicago. Of these, Martin highlights Chicago in particular for their experimentation with suites and extended compositions, such as the "Ballet for a Girl in Buchannon" on Chicago II.^[72] Jazz influences appeared in the music of British bands such as Traffic, Colosseum and If, together with Canterbury scene bands such as Soft Machine and Caravan. Canterbury scene bands emphasised the use of wind instruments, complex chord changes and long improvisations.^[73] Martin writes that in 1968, "full-blown progressive rock" was not yet in existence, but three bands released albums who would later come to the forefront of the music: Jethro Tull, Caravan and Soft Machine.^[74]

"The Court of the Crimson King" (1969)

Macan writes that King Crimson's album "displays every element of the mature progressive rock genre ... [and] exerted a powerful extramusical influence on later progressive rock bands".^[75]

---

Problems playing this file? See media help.

The term "progressive rock", which appeared in the liner notes of Caravan's 1968 self-titled debut LP, came to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music.^[76][77] The Nice, the Moody Blues, Procol Harum and Pink Floyd all contained elements of what is now called progressive rock, but none represented as complete an example of the genre as several bands that formed soon after.^[78] Almost all of the genre's major bands, including Jethro Tull, King Crimson, Yes, Genesis, Van der Graaf Generator, ELP, Gentle Giant, Barclay James Harvest and Renaissance, released their debut albums during the years 1968–1970. Most of these were folk-rock albums that gave little indication of what the bands' mature sound would become, but King Crimson's In the Court of the Crimson King (1969) and Yes’ self-titled debut album (1969) were early, fully-formed examples of the genre.^{[75][nb 7]}

1970s–1980s

Peak years (1971–1976)

Pink Floyd performing The Dark Side of the Moon (1973), the best-selling album of the entire progressive rock period.^[79]

Most of the genre's major bands released their most critically acclaimed albums during the years 1971–1976.^[80] The genre experienced a high degree of commercial success during the early 1970s. Jethro Tull, ELP, Rush, Yes and Pink Floyd combined for four albums that reached number one in the US charts, and sixteen of their albums reached the top ten.^{[81][nb 8]} Mike Oldfield's Tubular Bells (1973), an excerpt of which was used as the theme for the film The Exorcist, sold 16 million copies.^[86]

Emerson, Lake & Palmer were one of the most commercially successful progressive rock bands of the 1970s. They are seen here performing in 1992.

Progressive rock came to be appreciated overseas, but it mostly remained a European, and especially British, phenomenon. Few American bands engaged in it, and the purest representatives of the genre, such as Starcastle and Happy the Man, remained limited to their own geographic regions.^[87] This is at least in part due to music industry differences between the US and Great Britain.^{[58][nb 9]} Cultural factors were also involved, as US musicians tended to come from a blues background, while Europeans tended to have a foundation in classical music.^[90] North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of Todd Rundgren's Utopia^[91] and Rush, the hard rock of Captain Beyond, the Southern rock-tinged prog of Kansas, the jazz fusion of Frank Zappa and Return to Forever, and the eclectic fusion of the all-instrumental Dixie Dregs.^{[92][93][94][95][96]} British progressive rock acts had their greatest US success in the same geographic areas in which British heavy metal bands experienced their greatest popularity. The overlap in audiences led to the success of arena rock bands, such as Boston, Kansas, and Styx, who combined elements of the two styles.^[92]

Progressive rock achieved popularity in Continental Europe more quickly than it did in the US. Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early 1970s.^{[97][nb 10]} Progressive rock emerged in Yugoslavia in the late 1960s, dominating the Yugoslav rock scene until the late 1970s.^[99][100] Few of the European groups were successful outside of their own countries, with the exceptions of Dutch bands like Focus and Golden Earring who wrote English-language lyrics, and the Italians Le Orme and PFM, whose English lyrics were written by Peter Hammill and Peter Sinfield, respectively.^[101] Some European bands played in a style derivative of English bands.^{[102][nb 11]} The "Kosmische music" scene in Germany came to be labelled as "krautrock" internationally^[104] and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon.^[105] Krautrock bands such as Can, which included two members who had studied under Karlheinz Stockhausen,^[106] tended to be more strongly influenced by 20th-century classical music than the British progressive rock bands, whose musical vocabulary leaned more towards the Romantic era. Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock.^[107]

Progressive soul

Concurrently, African-American popular musicians drew from progressive rock's conceptual album-oriented approach. This led to a progressive-soul movement in the 1970s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop.^[108] Among these musicians were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton.^[109] In discussing the development, Martin cites 1970s albums by Wonder (Talking Book, Innervisions, Songs in the Key of Life), War (All Day Music, The World Is a Ghetto, War Live), and the Isley Brothers (3 + 3), while noting that the Who's progressive rock-influenced Who Are You (1978) also drew from the soul variant.^[110] Dominic Maxwell of The Times calls Wonder's mid-1970s albums "prog soul of the highest order, pushing the form yet always heartfelt, ambitious and listenable".^[111]

Decline and fragmentation

Political and social trends of the late 1970s shifted away from the early 1970s hippie attitudes that had led to the genre's development and popularity. The rise in punk cynicism made the utopian ideals expressed in progressive rock lyrics unfashionable.^[112] Virtuosity was rejected, as the expense of purchasing quality instruments and the time investment of learning to play them were seen as barriers to rock's energy and immediacy.^[113] There were also changes in the music industry, as record companies disappeared and merged into large media conglomerates. Promoting and developing experimental music was not part of the marketing strategy for these large corporations, who focused their attention on identifying and targeting profitable market niches.^[114]

King Crimson's Robert Fripp believed that the prog movement had gone "tragically off course".^[115]

Four of progressive rock's most successful bands – King Crimson, Yes, ELP and Genesis – went on hiatus or experienced major personnel changes during the mid-1970s.^[115] Macan notes the September 1974 breakup of King Crimson as particularly significant, calling it the point when "all English bands in the genre should have ceased to exist".^[116] More of the major bands, including Van der Graaf Generator, Gentle Giant and U.K., dissolved between 1978 and 1980.^[117] Many bands had by the mid-1970s reached the limit of how far they could experiment in a rock context, and fans had wearied of the extended, epic compositions. The sounds of the Hammond, Minimoog and Mellotron had been thoroughly explored, and their use became clichéd. Those bands who continued to record often simplified their sound, and the genre fragmented from the late 1970s onwards.^[118] In Robert Fripp's opinion, once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".^[119]

The era of record labels investing in their artists, giving them freedom to experiment and limited control over their content and marketing ended with the late 1970s.^[120] Corporate artists and repertoire staff exerted an increasing amount of control over the creative process that had previously belonged to the artists,^[121] and established acts were pressured to create music with simpler harmony and song structures and fewer changes in meter. A number of symphonic pop bands, such as Supertramp, 10cc, the Alan Parsons Project and the Electric Light Orchestra, brought the orchestral-style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration. Jethro Tull, Gentle Giant and Pink Floyd opted for a harder sound in the style of arena rock.^[5]

Few new progressive rock bands formed during this era, and those who did found that record labels were not interested in signing them.^[122] The short-lived supergroup U.K. was a notable exception since its members had established reputations; they produced two albums that were stylistically similar to previous artists and did little to advance the genre.^[123] Part of the genre's legacy in this period was its influence on other styles, as several European guitarists brought a progressive rock approach to heavy metal and laid the groundwork for progressive metal. Michael Schenker, of UFO; and Uli Jon Roth, who replaced Schenker in Scorpions, expanded the modal vocabulary available to guitarists.^[124] Roth studied classical music with the intent of using the guitar in the way that classical composers used the violin.^[125] Finally, the Dutch-born and classically trained Alex and Eddie Van Halen formed Van Halen, featuring ground-breaking whammy-bar, tapping and cross-picking guitar performances^[126] that influenced "shred" music in the 1980s.^[127]

Commercialisation

Some established artists moved towards music that was simpler and more commercially viable.^[128][11] Arena rock bands like Journey, Kansas, Styx, GTR, ELO and Foreigner either had begun as progressive rock bands or included members with strong ties to the genre. These groups retained some of the song complexity and orchestral-style arrangements, but they moved away from lyrical mysticism in favour of more conventional themes such as relationships.^[129] These radio-friendly groups have been called "prog lite".^[130] Genesis transformed into a successful pop act, the prog supergroup Asia (consisting of members of Yes, King Crimson, and ELP) scored a number-one album in 1982,^[131] and a re-formed Yes released the relatively mainstream 90125 (1983), which yielded their only US number-one single, "Owner of a Lonely Heart". One band who remained successful into the 1980s while maintaining a progressive approach was Pink Floyd, who released The Wall late in 1979. The album, which brought punk anger into progressive rock,^[132] was a huge success and was later filmed as Pink Floyd – The Wall.^{[nb 12]}

Post-punk and post-progressive

Punk and progressive rock were not necessarily as opposed as is commonly believed. Both genres reject commercialism, and punk bands did see a need for musical advancement.^{[140][nb 13]} Author Doyle Green noted that post-punk emerged as "a kind of 'progressive punk'".^[145] Post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as "progressive", "art", or "studio perfectionism".^[146] In contrast to punk rock, it balances punk's energy and skepticism with art school consciousness, Dadaist experimentalism, and atmospheric, ambient soundscapes. World music, especially African and Asian traditions, was also a major influence.^[147] Progressive rock's impact was felt in the work of some post-punk artists, although they tended not to emulate classical rock or Canterbury groups but rather Roxy Music, King Crimson, and krautrock bands, particularly Can.^{[148][nb 14]} Punishment of Luxury's music borrowed from both progressive and punk rock,^[150] whilst Alternative TV, who were fronted by the founder of the influential punk fanzine Sniffin' Glue Mark Perry, toured and released a split live album with Gong offshoot Here & Now.^[151]

Talking Heads' Jerry Harrison (left) and David Byrne, late 1970s

The term "post-progressive" identifies progressive rock that returns to its original principles while dissociating from 1970s progressive rock styles,^[152] and may be located after 1978.^[153] Martin credits Roxy Music's Brian Eno as the sub-genre's most important catalyst, explaining that his 1973–77 output merged aspects of progressive rock with a prescient notion of new wave and punk.^[154] New wave, which surfaced around 1978–79 with some of the same attitudes and aesthetic as punk, was characterised by Martin as "progressive" multiplied by "punk".^[155] Bands in the genre tended to be less hostile towards progressive rock than the punks, and there were crossovers, such as Fripp and Eno's involvement with Talking Heads, and Yes' replacement of Rick Wakeman and Jon Anderson with the pop duo the Buggles.^[155] When King Crimson reformed in 1981, they released an album, Discipline, which Macan says "inaugurated" the new post-progressive style.^[156] The new King Crimson line-up featured guitarist and vocalist Adrian Belew, who also collaborated with Talking Heads, playing live with the band and featuring on their 1980 album Remain in Light.^[157][158] According to Martin, Talking Heads also created "a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."^[154]

Neo-progressive rock

A second wave^[159] of progressive rock bands appeared in the early 1980s and have since been categorised as a separate "neo-progressive rock" subgenre.^[160] These largely keyboard-based bands played extended compositions with complex musical and lyrical structures.^[161] Several of these bands were signed by major record labels, including Marillion, IQ, Pendragon and Pallas.^[162] Most of the genre's major acts released debut albums between 1983 and 1985 and shared the same manager, Keith Goodwin, a publicist who had been instrumental in promoting progressive rock during the 1970s.^[163] The previous decade's bands had the advantage of appearing during a prominent countercultural movement that provided them with a large potential audience, but the neo-progressive bands were limited to a relatively niche demographic and found it difficult to attract a following. Only Marillion^[164] and Saga^[165] experienced international success.

Neo-progressive bands tended to use Peter Gabriel-era Genesis as their "principal model".^[166] They were also influenced by funk, hard rock and punk rock.^[167] The genre's most successful band, Marillion, suffered particularly from accusations of similarity to Genesis, although they used a different vocal style, incorporated more hard rock elements,^[168] and were very influenced by bands including Camel and Pink Floyd.^[169][170] Authors Paul Hegarty and Martin Halliwell have pointed out that the neo-progressive bands were not so much plagiarising progressive rock as they were creating a new style from progressive rock elements, just as the bands of a decade before had created a new style from jazz and classical elements.^[171] Author Edward Macan counters by pointing out that these bands were at least partially motivated by a nostalgic desire to preserve a past style rather than a drive to innovate.^[172]

1990s–2000s

Third wave

Porcupine Tree performing in 2007

A third wave of progressive rock bands, who can also be described as a second generation of neo-progressive bands,^[159] emerged in the 1990s. The use of the term "progressive" to describe groups that follow in the style of bands from ten to twenty years earlier is somewhat controversial, as it has been seen as a contradiction of the spirit of experimentation and progress.^[173][174] These new bands were aided in part by the availability of personal computer-based recording studios, which reduced album production expenses, and the Internet, which made it easier for bands outside of the mainstream to reach widespread audiences.^[175] Record stores specialising in progressive rock appeared in large cities.^[173]

The shred music of the 1980s was a major influence on the progressive rock groups of the 1990s.^[173] Some of the newer bands, such as the Flower Kings, Spock's Beard and Glass Hammer, played a 1970s-style symphonic prog, but with an updated sound.^[176] A number of them began to explore the limits of the CD in the way that earlier groups had stretched the limits of the vinyl LP.^[177]

Progressive metal

"A Change of Seasons" by Dream Theater

A multipart suite by Dream Theater that combines elements of progressive rock and heavy metal

---

Problems playing this file? See media help.

Progressive rock and heavy metal have similar timelines. Both emerged from late-1960s psychedelia to achieve great early-1970s success despite a lack of radio airplay and support from critics, then faded in the mid-to-late 1970s and experienced revivals in the early 1980s. Each genre experienced a fragmentation of styles at this time, and many metal bands from the new wave of British heavy metal – most notably Iron Maiden – onwards displayed progressive rock influences.^[178] Progressive metal reached a point of maturity with Queensrÿche's 1988 concept album Operation: Mindcrime, Voivod's 1989 Nothingface, which featured abstract lyrics and a King Crimson-like texture, and Dream Theater's 1992 Images and Words.^[179]

Progressive rock elements appear in other metal subgenres. Black metal is conceptual by definition, due to its prominent theme of questioning the values of Christianity.^[180] Its guttural vocals are sometimes used by bands who can be classified as progressive, such as Mastodon, Mudvayne and Opeth.^[181] Symphonic metal is an extension of the tendency towards orchestral passages in early progressive rock.^[182] Progressive rock has also served as a key inspiration for genres such as post-rock,^[183] post-metal and avant-garde metal,^[184] math rock,^[185] power metal and neo-classical metal.^[186]

New prog

New prog describes the wave of progressive rock bands in the 2000s who revived the genre. According to Entertainment Weekly's Evan Serpick: "Along with recent success stories like System of a Down and up-and-comers like the Dillinger Escape Plan, Lightning Bolt, Coheed and Cambria, and the Mars Volta create incredibly complex and inventive music that sounds like a heavier, more aggressive version of '70s behemoths such as Led Zeppelin and King Crimson."^[187]

2010s

The Progressive Music Awards were launched in 2012 by the British magazine Prog to honour the genre's established acts and to promote its newer bands. Honorees, however, are not invited to perform at the awards ceremony, as the promoters want an event "that doesn't last three weeks".^[188]

2020s

Progressive rock as a genre continues into the 2020s with existing bands like Yes, Marillion, Porcupine Tree and Magenta, along with more recently notable bands like Riverside and Zen Carnival creating new music centered around the style.

Discover more about History related topics

The Beatles

The Beatles

The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all time and were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band also explored music styles ranging from folk and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements.

George Martin

George Martin

Sir George Henry Martin was an English record producer, arranger, composer, conductor, and musician. He was commonly referred to as the "Fifth Beatle" because of his extensive involvement in each of the Beatles' original albums. AllMusic has described him as the "world's most famous record producer". Martin's formal musical expertise and interest in novel recording practices complemented the Beatles' rudimentary musical education and relentless quest for new musical sounds to record. Most of the Beatles' orchestral arrangements and instrumentation were written or performed by Martin, and he played piano or keyboards on a number of their records. Martin's collaboration with the Beatles resulted in popular, highly acclaimed records with innovative sounds, such as the 1967 album Sgt. Pepper's Lonely Hearts Club Band—the first rock album to win a Grammy Award for Album of the Year.

The Beach Boys

The Beach Boys

The Beach Boys are an American rock band that formed in Hawthorne, California, in 1961. The group's original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, and friend Al Jardine. Distinguished by their vocal harmonies, adolescent-themed lyrics, and musical ingenuity, they are one of the most influential acts of the rock era. They drew on the music of older pop vocal groups, 1950s rock and roll, and black R&B to create their unique sound. Under Brian's direction, they often incorporated classical or jazz elements and unconventional recording techniques in innovative ways.

The Byrds

The Byrds

The Byrds were an American rock band formed in Los Angeles, California, in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn remaining the sole consistent member. Although their time as one of the most popular groups in the world only lasted for a short period in the mid-1960s, the Byrds are today considered by critics to be among the most influential rock acts of their era. Their signature blend of clear harmony singing and McGuinn's jangly 12-string Rickenbacker guitar was "absorbed into the vocabulary of rock" and has continued to be influential.

Raga

Raga

A raga or raag is a melodic framework for improvisation in Indian classical music akin to a melodic mode. The rāga is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience.

Music of Asia

Music of Asia

Asian music encompasses numerous musical styles originating in many Asian countries.

Gregorian chant

Gregorian chant

Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of the Old Roman chant and Gallican chant.

The Yardbirds

The Yardbirds

The Yardbirds are an English rock band, formed in London in 1963. The band's core lineup featured vocalist and harmonica player Keith Relf, drummer Jim McCarty, rhythm guitarist and later bassist Chris Dreja, and bassist/producer Paul Samwell-Smith. The band started the careers of three of rock's most famous guitarists: Eric Clapton, Jeff Beck and Jimmy Page, all of whom ranked in the top five of Rolling Stone magazine's list of 100 greatest guitarists. The band had a string of hits throughout the mid-1960s, including "For Your Love", "Heart Full of Soul", "Shapes of Things", and "Over Under Sideways Down".

Paul McCartney

Paul McCartney

Sir James Paul McCartney is an English singer, songwriter and musician who gained worldwide fame with the Beatles, for whom he played bass guitar and shared primary songwriting and lead vocal duties with John Lennon. One of the most successful composers and performers of all time, McCartney is known for his melodic approach to bass-playing, versatile and wide tenor vocal range, and musical eclecticism, exploring genres ranging from pre–rock and roll pop to classical, ballads, and electronica. His songwriting partnership with Lennon remains the most successful in history.

The Who

The Who

The Who are an English rock band formed in London in 1964. Their core lineup consisted of lead vocalist Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century, and have sold over 100 million records worldwide. Their contributions to rock music include the development of the Marshall Stack, large PA systems, the use of the synthesizer, Entwistle and Moon's influential playing styles, Townshend's feedback and power chord guitar technique, and the development of the rock opera. They are cited as an influence by many hard rock, punk, power pop and mod bands, and their songs are still regularly played. The Who were inducted into the Rock and Roll Hall of Fame in 1990.

Swing music

Swing music

Swing music is a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw and Django Reinhardt.

Bebop

Bebop

Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.

Many prominent progressive rock bands got their initial exposure at large rock festivals that were held in Britain during the late 1960s and early 1970s. King Crimson made their first major appearance at the 1969 Hyde Park free concert, before a crowd estimated to be as large as 650,000, in support of the Rolling Stones.^[189] Emerson, Lake & Palmer debuted at the 1970 Isle of Wight Festival, at which Supertramp, Family and Jethro Tull also appeared.^[190] Jethro Tull were also present at the 1969 Newport Jazz Festival, the first year in which that festival invited rock bands to perform. Hawkwind appeared at many British festivals throughout the 1970s, although they sometimes showed up uninvited, set up a stage on the periphery of the event, and played for free.^[191]

Supertramp performing in 1979

King Crimson performing at the Dour Festival, 2003

Renewed interest in the genre in the 1990s led to the development of progressive rock festivals.^[173] ProgFest, organised by Greg Walker and David Overstreet in 1993, was first held in UCLA's Royce Hall,^[192] and featured Sweden's Änglagård, the UK's IQ, Quill and Citadel. CalProg was held annually in Whittier, California during the early 2000s.^[193] The North East Art Rock Festival, or NEARfest,^[175] held its first event in 1999 in Bethlehem, Pennsylvania and held annual sold-out concerts until 2012's NEARfest Apocalypse, which featured headliners U.K. and Renaissance.^[194] Other festivals include the annual ProgDay (the longest-running and only outdoor progressive music festival) in Chapel Hill, North Carolina, the annual Rites of Spring Festival (RoSfest) in Sarasota, Florida, The Rogue Independent Music Festival in Atlanta, Georgia, Baja Prog in Mexicali, Mexico, ProgPower USA in Atlanta, Georgia, ProgPower Europe in Baarlo, Netherlands, and ProgStock in Rahway, NJ, which held its first event in 2017.^[195] Progressive Nation tours were held in 2008 and 2009 with Dream Theater as the headline act. "Night of the Prog" in Sankt Goarshausen, Germany, is an established European progressive rock festival held every July during 2–3 days for 12 years.

Discover more about Festivals related topics

Isle of Wight Festival 1970

Isle of Wight Festival 1970

The Isle of Wight Festival 1970 was a music festival held between 26 and 31 August 1970 at Afton Down, an area on the western side of the Isle of Wight in England. It was the last of three consecutive music festivals to take place on the island between 1968 and 1970 and often acknowledged as the largest musical event of its time, with a larger attendance than Woodstock. Although estimates vary, Guinness World Records estimated 600,000 to 700,000 people attended. It was organised and promoted by local brothers, Ron and Ray Foulk through their company Fiery Creations Ltd and their brother Bill Foulk. Ron Smith was site manager and Rikki Farr acted as compere.

Family (band)

Family (band)

Family were an English rock band, active from late 1966 to October 1973, and again since 2013 for a series of live shows. Their style has been characterised as progressive rock, as their sound often explored other genres, incorporating elements of styles such as folk, psychedelia, acid rock, jazz fusion, and rock and roll. The band achieved recognition in the United Kingdom through their albums, club and concert tours, and appearances at festivals.

Newport Jazz Festival

Newport Jazz Festival

The Newport Jazz Festival is an annual American multi-day jazz music festival held every summer in Newport, Rhode Island. Elaine Lorillard established the festival in 1954, and she and husband Louis Lorillard financed it for many years. They hired George Wein to organize the first festival and bring jazz to Rhode Island.

Hawkwind

Hawkwind

Hawkwind are an English rock band known as one of the earliest space rock groups. Since their formation in November 1969, Hawkwind have gone through many incarnations and have incorporated many different styles into their music, including hard rock, progressive rock and psychedelic rock. They are also regarded as an influential proto-punk band. Their lyrics favour urban and science fiction themes.

King Crimson

King Crimson

King Crimson are a progressive rock band formed in 1968 in London, England. The band draws inspiration from a wide variety of music, incorporating elements of classical, jazz, folk, heavy metal, gamelan, industrial, electronic, experimental music and new wave. They exerted a strong influence on the early 1970s progressive rock movement, including on contemporaries such as Yes and Genesis, and continue to inspire subsequent generations of artists across multiple genres. The band earned a large cult following.

NEARfest

NEARfest

The North East Art Rock Festival, or NEARfest for short, was a multi-day event celebrating the resurgence of progressive and eclectic music in the United States and around the world. The event was held annually in early summer in Bethlehem, Pennsylvania, approximately one hour north of Philadelphia and less than two hours west of New York City. The festival was founded in the spring of 1998 by Robert LaDuca and Chad Hutchinson, with the first event occurring in 1999. NEARfest quickly grew to become "the most prestigious progressive music festival in the world."

Bethlehem, Pennsylvania

Bethlehem, Pennsylvania

Bethlehem is a city in Northampton and Lehigh Counties in the Lehigh Valley region of eastern Pennsylvania, United States. As of the 2020 census, Bethlehem had a total population of 75,781. Of this, 55,639 were in Northampton County and 19,343 were in Lehigh County. It is Pennsylvania's eighth most populous city. The city is located along the Lehigh River, a 109-mile-long (175 km) tributary of the Delaware River.

Chapel Hill, North Carolina

Chapel Hill, North Carolina

Chapel Hill is a town in Orange, Durham and Chatham counties in the U.S. state of North Carolina. Its population was 61,960 in the 2020 census, making Chapel Hill the 17th-largest municipality in the state. Chapel Hill, Durham, and the state capital, Raleigh, make up the corners of the Research Triangle, with a total population of 1,998,808.

Baja Prog

Baja Prog

Baja Prog is an annual progressive rock festival in Mexicali, Baja California, Mexico, held since 1997. It draws a number of well-known bands in the genre, and an average of 1500 attendees each day.

Mexicali

Mexicali

Mexicali is the capital city of the Mexican state of Baja California. The city, seat of the Mexicali Municipality, has a population of 689,775, according to the 2010 census, while the Calexico–Mexicali metropolitan area is home to 1,000,000 inhabitants on both sides of the United States-Mexico border. Mexicali is a regional economic and cultural hub for the border region of The Californias.

ProgPower Europe

ProgPower Europe

ProgPower Europe is a progressive metal festival held annually in the Netherlands since 1999. Notable headliners have included Sons of Apollo, Evergrey, and Caligula's Horse.

Baarlo

Baarlo

Baarlo is a village in the southeastern Netherlands. It is located in the municipality of Peel en Maas, Limburg, about 6 km southwest of Venlo.

The genre has received both critical acclaim and criticism throughout the years. Progressive rock has been described as parallel to the classical music of Igor Stravinsky and Béla Bartók.^[192] This desire to expand the boundaries of rock, combined with some musicians' dismissiveness toward mainstream rock and pop, dismayed critics and led to accusations of elitism. Its intellectual, fantastic and apolitical lyrics, and shunning of rock's blues roots, were abandonments of the very things that many critics valued in rock music.^[196] Progressive rock also represented the maturation of rock as a genre, but there was an opinion among critics that rock was and should remain fundamentally tied to adolescence, so rock and maturity were mutually exclusive.^[197] Criticisms over the complexity of their music provoked some bands to create music that was even more complex.^{[nb 15]}

Most of the musicians involved were male, as was the case for most rock of the time,^[201] Female singers were better represented in progressive folk bands,^[202] who displayed a broader range of vocal styles than the progressive rock bands^[203] with whom they frequently toured and shared band members.^[204]

British and European audiences typically followed concert hall behaviour protocols associated with classical music performances, and were more reserved in their behaviour than audiences for other forms of rock. This confused musicians during US tours, as they found American audiences less attentive and more prone to outbursts during quiet passages.^[205]

These aspirations towards high culture reflect progressive rock's origins as a music created largely by upper- and middle-class, white-collar, college-educated males from Southern England. The music never reflected the concerns of or was embraced by working-class listeners,^[206] except in the US, where listeners appreciated the musicians' virtuosity.^[207] Progressive rock's exotic, literary topics were considered particularly irrelevant to British youth during the late 1970s, when the nation suffered from a poor economy and frequent strikes and shortages.^[208] Even King Crimson leader Robert Fripp dismissed progressive rock lyrics as "the philosophical meanderings of some English half-wit who is circumnavigating some inessential point of experience in his life".^[209] Bands whose darker lyrics avoided utopianism, such as King Crimson, Pink Floyd and Van der Graaf Generator, experienced less critical disfavour.^[210]

"I wasn't a big fan of most of what you'd call progressive rock", remarked Floyd guitarist David Gilmour. "I'm like Groucho Marx: I don't want to belong to any club that would have me for a member."^[211] Ian Anderson, the frontman of Jethro Tull, commented:

I still like the original term that comes from 1969: progressive rock – but that was with a small "p" and a small "r". Prog Rock, on the other hand, has different connotations – of grandeur and pomposity ... Some of it was a little bit overblown, but in the case of much of the music, it was absolutely spot on.^[212]

While music fans for years have declared progressive rock to be dead,^[213] the scene is still active with many sub-genres.^[214]

Discover more about Reception related topics

Igor Stravinsky

Igor Stravinsky

Igor Fyodorovich Stravinsky was a Russian composer, conductor and pianist, later of French and American citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music due to his unique approach to rhythm, orchestration, and tonality.

Béla Bartók

Béla Bartók

Béla Viktor János Bartók was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.

Progressive folk

Progressive folk

Progressive folk was originally a type of American folk music that pursued a progressive political agenda. More recently, the term has also been applied to a style of contemporary folk that draws from post-Bob Dylan folk music and adds new layers of musical and lyrical complexity, often incorporating various ethnic influences.

High culture

High culture

In a society, high culture is the subculture that encompasses the cultural objects of aesthetic value, which a society collectively esteem as being exemplary works of art, and the intellectual works of literature and music, history and philosophy, which a society consider representative of their culture.

Upper class

Upper class

Upper class in modern societies is the social class composed of people who hold the highest social status, usually are the wealthiest members of class society, and wield the greatest political power. According to this view, the upper class is generally distinguished by immense wealth which is passed on from generation to generation. Prior to the 20th century, the emphasis was on aristocracy, which emphasized generations of inherited noble status, not just recent wealth.

Middle class

Middle class

The middle class refers to a class of people in the middle of a social hierarchy, often defined by occupation, income, education, or social status. The term has historically been associated with modernity, capitalism and political debate. Common definitions for the middle class range from the middle fifth of individuals on a nation's income ladder, to everyone but the poorest and wealthiest 20%. Theories like "Paradox of Interest" use decile groups and wealth distribution data to determine the size and wealth share of the middle class.

Southern England

Southern England

Southern England, also known as the South of England or The South, is sub-national part of England; with cultural, economic and political differing from both the Midlands and the North, the Midlands being a dialect chain in a notable north–south divide of England. The sub-national area's official population is nearly 28 million and an area of 62,042 square kilometres (23,955 sq mi): roughly 40% of United Kingdom's population and approximately a quarter of its area.

David Gilmour

David Gilmour

David Jon Gilmour is an English guitarist, singer, songwriter, and member of the rock band Pink Floyd. He joined as guitarist and co-lead vocalist in 1967, shortly before the departure of founding member Syd Barrett. Pink Floyd achieved international success with the concept albums The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979), and The Final Cut (1983). By the early 1980s, they had become one of the highest-selling and most acclaimed acts in music history; by 2012, they had sold more than 250 million records worldwide, including 75 million in the United States. Following the departure of Roger Waters in 1985, Pink Floyd continued under Gilmour's leadership and released three more studio albums.

Groucho Marx

Groucho Marx

Julius Henry "Groucho" Marx was an American comedian, actor, writer, stage, film, radio, singer, television star and vaudeville performer. He is generally considered to have been a master of quick wit and one of America's greatest comedians.

Ian Anderson

Ian Anderson

Ian Scott Anderson is a British musician, singer and songwriter best known for his work as the lead vocalist, flautist, acoustic guitarist and leader of the British rock band Jethro Tull. He is a multi-instrumentalist who, in addition to flute and acoustic guitar, plays keyboards, electric guitar, bass guitar, bouzouki, balalaika, saxophone, harmonica and a variety of whistles. His solo work began with the 1983 album Walk into Light; since then he has released another five works, including the sequel to the Jethro Tull album Thick as a Brick (1972) in 2012, titled Thick as a Brick 2.