Editing Progressive rock (section)

==== Peak years (1971–1976) ====
{{See also|Krautrock}}

[[File:DarkSideOfTheMoon1973.jpg|thumb|left|[[Pink Floyd]] performing ''[[The Dark Side of the Moon]]'' (1973), the best-selling album of the entire progressive rock period{{sfn|Priore|2005|p=79}}]]

Most of the genre's major bands released their most critically acclaimed albums during the years 1971–1976.{{sfn|Macan|1997|p=27}} The genre experienced a high degree of commercial success during the early 1970s. Between them, the bands Jethro Tull, [[Emerson, Lake & Palmer|ELP]], [[The Moody Blues]], Yes, and Pink Floyd had five albums that reached number one in the US charts, and sixteen that reached the top ten.{{sfn|Macan|1997|p=28}}{{refn|group=nb|Tull alone scored 11 [[gold album]]s and 5 [[platinum album]]s.{{sfn|Cleveland|2005|}} Pink Floyd's 1970 album ''[[Atom Heart Mother]]'' reached the top spot on the UK charts. Their 1973 album ''[[The Dark Side of the Moon]]'', which united their extended compositions with the more structured kind of composing employed when [[Syd Barrett]] was their songwriter,{{sfn|Whiteley|1992|pp=34–35}} spent more than two years at the top of the charts{{sfn|Whiteley|1992|pp=4, 38}} and remained on the [[Billboard 200|''Billboard'' 200]] album chart for fifteen years.{{sfn|Friedlander|1998|p=245}}}} [[Mike Oldfield]]'s ''[[Tubular Bells]]'' (1973), an excerpt of which was used as the theme for the film ''[[The Exorcist (film)|The Exorcist]]'', sold 16 million copies.<ref>{{cite news |last=DeRogatis |first=Jim |title=The Curse of 'Tubular Bells'. 1974 also saw the rise of [[Supertramp]], as the release of their third studio album saw some success in both UK and USA |newspaper=Chicago Sun-Times |date=28 February 1993}}</ref>

[[File:Emerson, Lake & Palmer 01.jpg|thumb|right|[[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.{{sfn|Macan|1997|p=185-6}} This is at least in part due to music industry differences between the US and Great Britain.<ref name="pirenne1"/>{{refn|group=nb|Radio airplay was less important in the UK, where popular music recordings had limited air-time on official radio stations (as opposed to on [[Pirate radio in the United Kingdom|pirate radio]]) until the 1967 launch of [[BBC Radio 1]].<ref name="pirenne1"/> UK audiences were accustomed to hearing bands in clubs, and British bands could support themselves through touring. US audiences were first exposed to new music on the radio, and bands in the US required radio airplay for success.{{sfn|Curtis|1987|p=296-7}} Radio stations were averse to progressive rock's longer-form compositions, which hampered [[Radio advertisement|advertising sales]].<ref>{{cite news |last=Kava |first=Brad |title=Progressive rock's Yes: band of a thousand chances |newspaper=San Jose Mercury News |place=San Jose, CA |date=15 July 2002}}</ref>}} 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.{{sfn|Curtis|1987|p=286}}

North American progressive rock bands and artists often represented hybrid styles such as the complex arrangements of [[Utopia (band)|Todd Rundgren's Utopia]]<ref>{{cite book | url=https://books.google.com/books?id=phsIDgAAQBAJ&dq=todd+rundgren+UTOPIA+%22PROGRESSIVE+ROCK%22&pg=PA313 | isbn=9781440835148 | title=Encyclopedia of Classic Rock | date=24 February 2017 | publisher=Abc-Clio }}</ref> and [[Rush (band)|Rush]], the eclectic psychedelia of [[Spirit (band)|Spirit]],<ref>{{cite web | url=https://www.allmusic.com/artist/spirit-mn0000746010/biography?1686364995691 | title=Spirit Biography, Songs, & Albums | website=[[AllMusic]] }}</ref> the hard rock of [[Captain Beyond]], the [[Southern rock]]-tinged prog of [[Kansas (band)|Kansas]], the jazz fusion of [[Frank Zappa]] and [[Return to Forever]], and the eclectic fusion of the all-instrumental [[Dixie Dregs]].{{sfn|Macan|1997|p=186}}<ref>Globe Staff. "Second Time's the Charm for Dregs." ''The Boston Globe''. 21 February 1992.</ref><ref>{{cite web|url=http://www.allmusic.com/artist/captain-beyond-mn0000944933/biography|title=Captain Beyond – Biography & History – AllMusic|website=AllMusic|access-date=15 June 2017|archive-date=14 August 2017|archive-url=https://web.archive.org/web/20170814224428/http://www.allmusic.com/artist/captain-beyond-mn0000944933/biography|url-status=live}}</ref><ref>{{cite web|url=http://www.allmusic.com/artist/return-to-forever-mn0000463527/biography|title=Return to Forever – Biography & History – AllMusic|website=AllMusic|access-date=15 June 2017|archive-date=20 July 2017|archive-url=https://web.archive.org/web/20170720071957/http://www.allmusic.com/artist/return-to-forever-mn0000463527/biography|url-status=live}}</ref><ref>{{cite web|url=http://www.allmusic.com/artist/frank-zappa-mn0000138699|title=Frank Zappa – Biography, Albums, Streaming Links – AllMusic|website=AllMusic|access-date=15 June 2017|archive-date=5 January 2013|archive-url=https://web.archive.org/web/20130105033959/http://www.allmusic.com/artist/frank-zappa-mn0000138699|url-status=live}}</ref>{{text-source inline|date=March 2017}} 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 (band)|Boston]], [[Kansas (band)|Kansas]], and [[Styx (band)|Styx]], who combined elements of the two styles.{{sfn|Macan|1997|p=186}}

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.{{sfn|Martin|1998|pp=154–55}}{{refn|group=nb|Van der Graaf Generator were much more popular there than in their own country. Genesis were hugely successful in Continental Europe at a time when they were still limited to a [[cult following]] in Britain and the US.<ref name="spicer">{{cite conference |last=Spicer |first=Mark |title=Genesis's Foxtrot |book-title=Proceedings of the International Conference "Composition and Experimentation in British Rock 1966–1976" |date=2005 |access-date=3 July 2013 |url=http://www-3.unipv.it/britishrock1966-1976/testien/spi1en.htm |conference= |archive-date=19 October 2013 |archive-url=https://web.archive.org/web/20131019104342/http://www-3.unipv.it/britishrock1966-1976/testien/spi1en.htm |url-status=live }}</ref>{{importance example|date=August 2023}}}} Progressive rock scene emerged in Yugoslavia in the late 1960s, dominating the [[Yugoslav rock scene]] until the late 1970s.<ref name="mirković">{{cite book|last=Mirković|first=Igor|title=Sretno dijete|year=2003|publisher=Fraktura|location=Zagreb|page=5}}</ref><ref name="žikić">{{cite book|last=Žikić|first=Aleksandra|title=Fatalni ringišpil: Hronika beogradskog rokenrola 1959-1979|year=1999|publisher=Geopoetika|location=Belgrade|pages=138–139}}</ref> Few of the European groups were successful outside of their own countries, with the exceptions of Dutch bands like [[Focus (band)|Focus]] and [[Golden Earring]] who wrote English-language lyrics, and the Italians [[Le Orme]] and [[Premiata Forneria Marconi|PFM]], whose English lyrics were written by [[Peter Hammill]] and [[Peter Sinfield]], respectively.{{sfn|Macan|1997|pp=183–84}} Some European bands played in a style derivative of English bands.{{sfn|Macan|1997|p=267}}{{verify source|date=September 2016}}{{refn|group=nb|This can be heard in [[Triumvirat]], an organ trio in the style of ELP; [[Ange (band)|Ange]] and [[:it:Celeste (gruppo musicale)|Celeste]] who have had a strong King Crimson influence.{{sfn|Macan|1997|p=267}} Others brought national elements to their style: Spain's [[Triana (band)|Triana]] introduced [[flamenco]] elements, groups such as the Swedish [[Samla Mammas Manna]] drew from the folk music styles of their respective nations, and Italian bands such as [[Il Balletto di Bronzo]], Rustichelli & Bordini, leaned towards an approach that was more overtly emotional than that of their British counterparts.{{sfn|Macan|1997|p=184}}}}

The "Kosmische music" scene in Germany came to be labelled as "[[krautrock]]" internationally{{sfn|Sarig|1998|p=123}} and is frequently cited as part of the progressive rock genre or an entirely distinct phenomenon.{{sfn|Hegarty|Halliwell|2011|pp=10, 152}} Krautrock bands such as [[Can (band)|Can]], which included two members who had studied under [[Karlheinz Stockhausen]],{{sfn|Lucky|2000|p=22}} tended to be more strongly influenced by [[20th-century classical music]] than the British progressive rock bands, whose musical vocabulary leaned more towards [[Romantic music|the Romantic era]]. Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock.{{sfn|Martin|2002|p=82}}

===== Progressive soul =====
{{Main|Progressive soul}}
Concurrently, Black 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.<ref>{{harvnb|Martin|1998|p=41}}; {{harvnb|Hoard|Brackett|2004|p=524}}.</ref> Among these musicians were [[Sly Stone]], [[Stevie Wonder]], [[Marvin Gaye]], [[Curtis Mayfield]], and [[George Clinton (funk musician)|George Clinton]].{{sfn|Hoard|Brackett|2004|p=524}} In discussing the development, [[Bill Martin (philosopher)|Bill Martin]] cites 1970s albums by Wonder (''[[Talking Book]]'', ''[[Innervisions]]'', ''[[Songs in the Key of Life]]''), [[War (band)|War]] (''[[All Day Music]]'', ''[[The World Is a Ghetto]]'', ''[[War Live (album)|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.{{sfn|Martin|1998|pp=41, 205, 216, 244}} 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".<ref>{{cite magazine|last=Kendall|first=Jo|date=5 May 2019|url=https://www.pressreader.com/uk/prog/20190305/281505047507913|title=Record Collection|magazine=[[Prog (magazine)|Prog]]|access-date=23 January 2021|via=[[PressReader]]|archive-date=30 January 2021|archive-url=https://web.archive.org/web/20210130001531/https://www.pressreader.com/uk/prog/20190305/281505047507913|url-status=live}}</ref>