 pkos76 wrote:
hello i want to know when the term progressive rock came out.as i understand the term did not exist at the glory days of the genre in the early seventies. |
The term 'progressive rock' was in common use in the early 1970s and was even used in the late 1960s. A few excerpts from articles in the Press of those days should be sufficient proof:
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The Yardbirds: Only Jimmy Left To Form The New Yardbirds
Chris Welch, Melody Maker, October 12, 1968
Whatever happened to the Yardbirds? One of the great mysteries of our time, ranking with the Devil's footprints, the Marie Celeste and the Five Penny Post, is the disappearance of a group once hailed as the most
progressive in Britain.
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New Musical Express, 26 October 1968
LESS COMPLEX, MORE COMMERCIAL MOODIES
Moody Blues: Ride My See-Saw (Deram).
Progression, experimentation, inventiveness - these are qualities that we've come to associate with the Moody Blues. Indeed, some of their material has been so far out that it scarecely comes within the bounds of pop music. But their new disc is much less complex and more obviously commercial.
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New Musical Express, March 28 1970
Reviews of Yes concerts nearly always include phrases like "vastly improving" and "great potential" but they haven't yet achieved the heights of Blodwyn Pig and King Crimson who emerged around the same time and have gone on to establish themselves as top names.
Perhaps the reason is because Yes haven't landed definitely in the so called
progressive bag with all the attendant hype that can bring. Lead singer Jon Anderson says "We're not a blues group, not a jazz group, just a pop group. We do popular numbers that we hope people will like. "We can play underground, blues and pop venues and be accepted. We have been classed as a
progressive group, but this isn't how we see ourselves. We just like to arrange things to reach a climax in the music.
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Yes: Queen Elizabeth Hall, London
Mark Williams, International Times, 9 April 1970
IT HAS BEEN many months since I've seen YES and the consequent starvation of tight British
progressive rock music par excellence left me eagerly awaiting the start of their first solo concert.
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New Musical Express, April 25, 1970
TYA PLAN 33 SPEED ON 7 MIN SINGLE
says Richard Green
Heated arguments are constantly revolving around and developing out of my contention and, indeed argument, that Ten Years After are one of the country's biggest
progressive groups. "Yeah? What about Jethro and Fleetwood?" That's all I hear. But then, I try to reason that those groups issue singles all the time, TYA don't.
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New Musical Express, January 1, 1972
UFO: 1972 SHOULD BE YEAR THEY BREAK BRITISH MARKET
Chances are you've never heard of UFO so it might come as a surprise revelation that they've sold over a million singles, nearly half-a-million albums, have an American contract with Tamla Motown and this month played to 23,000 people on one Japanese gig. What's more, they're British!
For UFO (Unidentified Flying Object) perhaps we should substitute UPG (Unidentified Pop Group). In any case this talented London foursome started out under the unlikely nomenclature of The Good, The Bad, and the Ugly before their record company boss thought up the present appendage. Still, even Creedence were once known as the Golliwogs!
Why then the lack of acceptance at home "I don't know. Perhaps it's because the public has become a little tired of
progressive rock groups and we're a
progressive rock group. But we do avoid the usual cliches and try to give the public something more than just freaky sounds." said vocalist Phil Mogg, who works himself to a frazzle on-stage in true Arthur Brown/Lord Sutch/Screamin' Jay Hawkins manner.
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Emerson Lake And Palmer: Super-Group Of The Seventies!
Keith Altham, Petticoat, 4 November 1972
EMERSON LAKE and Palmer may not be three names which are immediately known to you but to millions of
progressive rock music fans across the World they are the only group. Better musicians than the Beatles, more exciting than the Rolling Stones and with a super-keyboard player able to leap tall organs at a single bound!
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Page 28 MELODY MAKER July 28, 1973
Standing up for the Queen
Brian and Freddie are the main songwriters, but they write individually. Mercury has a tendency to fantasise melodic and is more down to earth. Their first album, "Queen," is a series of amaziningly different songs, from faster-than-fast rockers to soft ballads. Traces of Yes and Black Sabbath can also be found, but structurally it all seems to sound original.
A single, "Keep Yourself Alive," has also been released in hopes of giving the band some early chart success. Like the album, it's commercial in a
progressive kind of way. Spaced between chunky verses, the group have incorporated a dum solo (with effects) and a tasty guitar solo which has an interesting synthesizer effect. Brian insists he doesn't use one though.
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Greenslade: Greenslade Warming Up
Chris Welch, Melody Maker, 16November 1974
THERE'S DEVIL'S work afoot in the world of rock (and indeed roll). Wot wiv the price of petrol and motorway chips it's a wonder there are any
progressive rock bands left on the road who can't live off their record royalties. On top of that musicians have to put up with jibes (and in many cases, gibes) of the "techno-flash" variety from supporters of the popular antimusic front.
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Page 47 New York Times August 7, 1977
Yes, rock Band, Affirms Fusion
Yes, the British rock quintet that gave the first of three sold-out performances Firday night at Madison Square Garden, deals in a kind of rock toward which this listender is normally indifferent or even antipathetic. That is the fantasy-laden, over-busy, semi-jazzish sort of artsy
progressive rock that was especially popular in Britain in the early 1970's, when Yes first became massively successful.
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The term "prog rock"
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