This is the first authoritative study of the music and history of progressive rock, a genre praised for its virtuoso instrumental solos and gargantuan stage shows, but also criticized for its privileged, upper-middle class roots. By using an interdisciplinary approach that draws together cultural theory, musicology, and music criticism, Macan illuminates how progressive rock - which includes bands such as King Crimson, Emerson Lake and Palmer, Yes, Genesis, the Moody Blues, and Pink Floyd - served as a vital cultural expression of the counterculture of the late 1960s and 1970s in England.
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For unreconstructed admirers of prog-rock this is a long overdue defence of a too-easily maligned genre, reason enough, if nothing else, to play those Genesis albums with pride. (Simon Evans, Birmingham Post)
there is no getting away from its sheer vastness, tackling the quintessentially English subject with all the authority of a great American tome ... Macan's insight and detail is first-rate (Record Collector)
This study looks at the music and history of progressive rock, a genre praised for its virtuosic instrumental solos and gargantuan stage shows, but also criticized for its privileged, upper-middle class roots. By using an interdisciplinary approach that draws together cultural theory, musicology and music criticism, it shows how progressive rock - which includes bands such as King Crimson, Emerson Lake and Palmer, Yes, Genesis, the Moody Blues and Pink Floyd - served as a vital cultural expression of the counterculture of the late 1960s and 1970s in England.
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