Oh yeah Sigur Ros are great, I wouldn't describe them as prog tho...

i've seen tull twice and i'm only 21. not, that I think i'm hot Sh][T or anythin.

Under the definition used here, I would say The Doors could be classified as prog. The End would the best song to prove such argument with its 11-12 min running time and extensive instrumental sections. I love that band so much! What do you think about them?

i'll buy that. I also, think that the song "when the musics over" is also, kind of proggy, with lulls and stuff. That song is 10 min 57 sec.
also, their jam sessions where jim would read poetry over it could get kind of proggy. Like the last 20 minutes of "absolutely live" is I think from one show but, i'm not sure if not it was edited together really well to sound proggressive even.
so Lucretia and I are the only progheads who mentioned TOOL? come to the darkside man...

He new bassist for them Trey gunn is amazing. He plays this bass that has 8 strings on it, and half of the neck is fretted and the other half is unfretted. SO, 4 strings rest on a fretted part and 4 other strings right beside them sit on an unfretted part. It looks like a normal 8 stringed bass from far away but, up close you can see it. Anyways, the guy is amazing. He can also kind of play a fretless bass on his lap kind of like a steel guitar, but, with a fretless. and it sounds beautiful.
gotta check out eyes wide open.

Liberphile
What a coincidence, I was listening to that esact song and thinking the same thing you were wrote when I read your post.

Oh, good. I'm not alone in thinking that the Doors are prog.

I would love to see Tull live.

Does anyone consider Funkadelic, especially on concept albums like "One Nation Under a Groove" or "The Electric Spanking Of War Babies" (which is the best title ever) to be prog as well as funk?

i just picked up "The Dixie Dregs Live" from my library and they kick ***.

Does anyone listen to King's X, if so, what do they sound like.

I'd like to recommend Neal Morse. He used to be with Spock's Beard but now he's gone solo.

When he was with Spock's Beard “Snow” is f****** outstanding and now that he's solo “Testimony” is an amazing piece of prog work.

His work now is “Christen Prog” and that’s not my bag but the musicianship well makes up for that .... But hay, that might be your thing. :thumb:

RUSH!!!!, and YES

I saw Dream Theater in September when they were touring with Yes, DT rocks but they really only played their softer songs and Steam of Consciousness. It was still awsome. Rush and Pink Floyd rule too!!!

favourite prog albums??

Yes- close to the edge
dream theatre- train of thought ( I really need to get more dream theatre)
Rush- 2112
King Crimson- larkes tounges in aspic and in the court of the krimson king
radiohead- o.k. computer (a masterpiece to me) i think it can be argued that dis is prog
Tool- Undertow, aenima and lateralus
OPeth- blackwater park (omg)
Mr. Bungle - California
Floyds- the wall is prolly there most progish album

[QUOTE=BassasonicMuthaplucka]p.s. toast my KC picture in my avatar was almost the Larks' Tongue cover as well[/QUOTE]Radiolaria here, and you?

Prog. metal/rock is the shiit.

dream theater count?

mars volta
mindless self indulgence
rush
yes

i like dream theater, rush, king crimson, liquid tension experiment, primus, (the) jelly jam, platypus, pink floyd, tool, and lots of solo efforts of assorted artists (i.e. derek sherinian). i guess i could be a progressive fan . . .

My fav prog bands are Rush, Liquid tension experiment, Yes and Dream Theater.

Ok, also Pink Floyd, I cant forget them!

Two best opera-rock albums:

- Dream Theater, Scenes from a memory

- Pink Floyd, The Wall

lets say your favourite opera-rock albums... ;)

I play in a prog rock/pop band. Say what you want about prog, but it's really fun to play with all awesome time signatur changes and cool rythms. In our music, at least. :p

As a result, I listen a lot to prog too. Because I don't like metal really much, I'm more into the softer bands, like Spock's Beard, Transatlantic, The Flower Kings, and so on. Though I still dig Dream Theater. ;)

I'm not really into the older prog stuff, except The Beatles, though I really like Pink Floyd and the like when I get a chance to hear it.

My favorite prog album is Spock's Beard's "Snow". It's simply amazing.

Favorite Rock Operas/Concept Album

The Romantic Warrior: Return To Forever
Thick as A Brick and Aqualung by Tull
Uncle Meat and Joe's Garage by Frank Zappa
Most Pink Floyd
2112
Scenes From A Memory
De-Loused In The Comatorium: the Mars Volta

I decided to drag this up from eons ago, before I left MX.

Thanks for posting!

Some things that I said earlier may not have been as accurate as they actually are. If you have progressive rock questions, I'm sure a prog fan will help you out.

-Muthaplucker

ah ok.

Damn i thought quatre was back!!

/saw his post count :upset:

Sorry, I dredged this one up from long ago.

I like Jethro Tull, Pink Floyd, Yes, Rush, King Crimson, Kamelot, Genesis, Opeth, Dream Theater, The Mars Volta, and Radiohead.

Im pretty sure all of those bands are prog.

Im not a member or anything but I do absolutely love progarchives

I love prog, and my dad has all these amazing vinyls in my basement that I check out all the time. I love being 13 and being into diverse types of music:)

I listen to Rush, Yes, King Crimson, Pink Floyd, The Mars Volta, and Emmerson,Lake, and Palmer. Muse if they count. I want to get into a bit more Tull, and to check out Porcupine Tree. I heard 'round these parts that they're a good prog band.
My favorite prog concept albums/pieces/operas:
2112
Wish You Were Here
Frances The Mute
Karn Evil 9 (just a part of the whole album, but still)

Emerson, Lake, and Palmer are the shizzle.

I was reading the thread I was shocked to almost not see Tool mentioned. :eek:

Tool/Apc, The Mars Volta (yes they are progressive, they progress throughout their songs, which makes them 'progressive' so stfu) Radiohead (if they count). Pink Floyd...All pretty standard really.

[QUOTE=asshead27]les and the rest of primus were heavily influenced by rush, and have a few prog elements, so yes.

i define prog as weird time signatures, mystical lyrics, very scalar bassed riffs and PROGressions. however, a few bands that you guys are naming arent relly prog to me. i think what defines progressive rock is the progressions, not the art or the fact that they dont fit anywhere else. so here is a list of my favourite prog bands.............
[/QUOTE]

It's not about chord progressions. That's the stupidest thing I've heard all day. "Progressive" refers to the "progression" of rock to a new form. I don't really care, I seriously hate all the genre s[SIZE="2"]hi[/SIZE]t that goes on here in MX (especially in R&M - "technical gore death prog stoner hardcore postrock melodic thrash metal), but to assume its about chord progressions because of the word "progressive" is just... urgh

what about italian prog?!?


PREMIATA FORNERIA MARCONI!

That's a good un Joshmay: PFM, Banco del Mutuo Soccorso, Locanda Del Fate, Le Orme.

Sweden's also cranking out some excellent prog:
The Flower Kings, Pain of Salvation, Opeth, Anglagard, Anekdoten, Liquid Scarlet, etc.

Yes, I consider TMV, Tool, Radiohead and Coheed and Cambria to be prog

He didn't say it was all about chord progressions, he was just pointing out that prog often reaches beyond simple four chord patterns.

Too clear it up:

[B]A definition of Progressive Rock Music[/B] stolen from ProgArchives and Wikipedia

Progressive rock ("prog") is an ambitious, eclectic, and often grandiose style of rock music which arose in the late 1960s principally in England, reaching the peak of its popularity in the early 1970s, but continuing as a musical form to this day. Progressive rock was largely a European movement, and drew most of its influences from classical music and jazz fusion, in contrast to American rock, which was influenced by rhythm & blues and country, although there are notable exceptions in the New World such as Kansas and Rush — considered by many to be the finest examples of the form. Over the years various sub-genres of progressive rock have emerged, such as symphonic rock, art rock and progressive metal.

Progressive rock artists sought to move away from the limitations of radio formatted rock and pop, and "progress" rock to the point that it could achieve the sophistication of jazz or classical music. It is admired by its fans for its complexity, requiring a high level of musical virtuosity to perform. Critics have often derided the genre as pompous and self-indulgent. This is because, unlike such stylistically consistent genres as country or hip hop, progressive rock is difficult to define in a single conclusive way. Outspoken King Crimson leader Robert Fripp has voiced his disdain for the term. The major acts that defined the genre in the 1970s (Yes, Genesis, Emerson Lake and Palmer, Rush and King Crimson) do not sound alike. There is also debate on whether bands such as The Beatles, Phish, and Radiohead belong to the genre.

Some common, though not universal, elements of progressive rock include:
Long compositions, sometimes running over 20 minutes, with intricate melodies and harmonies that require repeated listening to grasp. These are often described as epics and are the genre's clearest nod to classical music. An early example is the 23-minute "Echoes" by Pink Floyd. Other famous examples include Jethro Tull's "Thick as a Brick" (43 minutes), Yes' "Close to the Edge" (18 minutes) and Genesis' "Supper's Ready" (23 minutes). More recent extreme examples are the 60-minute "Light of Day, Day of Darkness" by Green Carnation and "Garden of Dreams" by The Flower Kings.
Lyrics that convey intricate and sometimes impenetrable narratives, covering such themes as science fiction, fantasy, history, religion, war, love, and madness. Many early 1970s progressive rock bands (especially German ones) featured lyrics concerned with left-wing politics and social issues.
Concept albums, in which a theme or storyline is explored throughout an entire album in a manner similar to a film or a play. In the days of vinyl, these were usually two-record sets with strikingly designed gatefold sleeves. Famous examples include The Lamb Lies Down on Broadway by Genesis, Tales from Topographic Oceans by Yes, 2112 by Rush, Dark Side of the Moon and The Wall by Pink Floyd, and the more recent Metropolis Part II: Scenes from a Memory by Dream Theater and Snow by Spock's Beard. Aqualung, perhaps the best-known record by Jethro Tull, is often regarded as a concept album due to its recurring themes, but songwriter Ian Anderson has always claimed that the album is just "a bunch of songs".
Unusual vocal styles and use of multi-part vocal harmonies. See Magma, Robert Wyatt, and Gentle Giant.
Prominent use of electronic instrumentation — particularly keyboard instruments such as the organ, piano, Mellotron, and Moog synthesizer, in addition to the usual rock combination of electric guitar, bass and drums.
Use of unusual time signatures, scales, or tunings. Many pieces use multiple time signatures and/or tempi, sometimes concurrently. Solo passages for virtually every instrument, designed to showcase the virtuosity of the player. This is the sort of thing that contributed to the fame of such performers as keyboardist Rick Wakeman and drummer Neil Peart.
Inclusion of classical pieces on albums. For example, Yes start their concerts with a taped extract of Stravinsky's Firebird suite, and Emerson Lake and Palmer have performed arrangements of pieces by Copland, Bartók, Moussorgsky, Prokofiev, Janacek, Alberto Ginastera, and often feature quotes from J. S. Bach in lead breaks. Jethro Tull recorded a famous cover of J. S. Bach's "Bouree", in which they turned the classical piece into a "sleazy jazzy night-club song", according to Ian Anderson. Marillion started concerts with Rossini's La Gazza Ladra (The Thieving Magpie). Symphony X has included parts by, or inspired by, Beethoven, Holst and Mozart.
An aesthetic linking the music with visual art, a trend started by The Beatles with Sgt. Pepper's and enthusiastically embraced during the prog heyday. Some bands became as well-known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean, whose paintings and logo design for Yes are so essential to the band's identity they could be said to serve the same function as corporate branding. Hipgnosis became equally famous for their unusual sleeves for Pink Floyd, often featuring experimental photography quite innovative for the time (two men shaking hands, one of whom is in flames, on the cover of Wish You Were Here). H.R. Giger's painting for Emerson Lake and Palmer's Brain Salad Surgery is one of the most famous album sleeves ever produced.


Progressive rock compositions sometimes take the following forms:
A piece that is subdivided into movements in the manner of a classical suite. Examples are the four-part "Close to the Edge" by Yes, six-part "Hemispheres" by Rush, and the seven-part "A Change of Seasons" by Dream Theater. All of TransAtlantic's epics are multipart.
A piece that is composed of a patchwork of musical themes that could conceivably stand as individual songs, but together serve to relate a complete narrative through music. Examples are "Supper's Ready" on Genesis' Foxtrot (the "Willow Farm" section of which was played as a single), "A Day in the Life" on Sgt. Pepper's Lonely Hearts Club Band by The Beatles, Jethro Tull's Aqualung from the album of the same name, and "The Gates of Delirium" on Yes's album Relayer (from which the single "Soon" was taken).
A piece that allows the development of musical ideas via progressions or variations in the manner of a bolero or a canon. "King Kong" on Frank Zappa's Uncle Meat is an example.
Progressive rock's popularity peaked in the mid-1970s, when prog artists regularly topped readers' votes in mainstream popular music magazines. With the advent of punk rock in the late 1970s, and its earlier precursor pub rock, popular and critical opinion moved toward a simpler and more aggressive style of rock, with progressive rock increasingly dismissed as pretentious and overblown. This attitude has remained in place to the present day.

The early 1980s saw something of a revival of the genre, led by artists such as Marillion, Saga, and Kate Bush. Groups that arose during this time are sometimes termed neo-progressive. Around the same time, some progressive rock stalwarts changed musical direction, simplifying their music and including more obviously electronic elements. In 1983, Genesis achieved international success with the song "Mama", with its heavy emphasis on a drum machine riff. In 1984, Yes had a surprise number one hit with the song "Owner of a Lonely Heart", which contained modern (for the time) electronic effects and was accessible enough to be played at discos.

The genre enjoyed another revival in the 1990s with the so-called "Third Wave", spearheaded by such bands as Sweden's The Flower Kings, the UK's Porcupine Tree, and Spock's Beard from the United States. One of the most important bands of the alternative rock movement, The Smashing Pumpkins, incorporated progressive rock into their unique, eclectic style, going so far as to release two albums dealing with the same concept.

In recent years, the most commercially viable category of prog has been progressive metal. These bands are usually happy to be known as progressive, and produce very long pieces and concept albums. Several of the leading bands in the prog-metal genre (particularly Dream Theater) cite pioneer progressive hard-rockers Rush as a prime influence. Meanwhile, other heavy metal bands not generally considered prog-metal, such as System of a Down, have nevertheless incorporated prog-influenced elements like bizarre shifts in time signatures and tempo in their music.

The work of contemporary artists such as Ween and post-rock bands like Sigur Rós and Godspeed You! Black Emperor could be said to incorporate some of the experimental elements of progressive rock, sometimes combined with the aesthetic sensibilities of punk rock to produce music which many find challenging, innovative and imaginative. The Mars Volta is notable for intentionally fusing punk with progressive rock, two elements once polar opposites. Among more experimental and avant garde musicians, the Japanese composer Takashi Yoshimatsu publicly cites progressive rock bands as a prime influence on his work.