Editing Progressive rock (section)

====Neo-prog====
{{main|Neo-prog}}

A second wave{{sfn|Hegarty|Halliwell|2011|p=199}} of progressive rock bands appeared in the early 1980s and have since been categorised as a separate "[[neo-prog]]" subgenre.<ref name="ewing">Ewing, Jerry. "Pathways." Classic Rock Presents Prog. 17 March 2010. p.61</ref> These largely keyboard-based bands played extended compositions with complex musical and lyrical structures.{{sfn|Hegarty|Halliwell|2011|pp=183–186}} Several of these bands were signed by major record labels, including [[Marillion]], [[IQ (band)|IQ]], [[Pendragon (band)|Pendragon]] and [[Pallas (band)|Pallas]].<ref>{{cite news | url=https://www.theguardian.com/music/2010/jul/22/prog-rock-genesis-rush-mostly-autumn | title=Go back to go forward: the resurgence of prog rock | work=The Guardian | location=London | first=Alexis | last=Petridis | date=22 July 2010 | access-date=9 November 2016 | archive-date=9 November 2016 | archive-url=https://web.archive.org/web/20161109091427/https://www.theguardian.com/music/2010/jul/22/prog-rock-genesis-rush-mostly-autumn | url-status=live }}</ref> 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.{{sfn|Macan|1997|p=198}} The previous decade's bands had the advantage of appearing during a prominent [[Counterculture|countercultural]] movement that provided them with a large potential audience, but the neo-prog bands were limited to a relatively niche demographic and found it difficult to attract a following. Only Marillion{{sfn|Macan|1997|pp=200–01}} and [[Saga (band)|Saga]]{{sfn|Clark|2012|}} experienced international success.

Neo-prog bands tended to use [[Peter Gabriel]]-era [[Genesis (band)|Genesis]] as their "principal model".<ref>{{cite book |editor1=John Covach |editor2=Graeme M. Boone |title=Understanding Rock: Essays in Musical Analysis |url=https://archive.org/details/understandingroc00cova |url-access=limited |year=1997|page=[https://archive.org/details/understandingroc00cova/page/n24 6]|publisher=Oxford University Press|isbn=978-0195100051}}</ref> They were also influenced by [[funk]], [[hard rock]] and [[punk rock]].{{sfn|Romano|2010|loc=[https://books.google.com/books?id=2lVMAgAAQBAJ&pg=PT390 "Marillion"]}} 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,{{sfn|Hegarty|Halliwell|2011|pp=187–188}} and were very influenced by bands including [[Camel (band)|Camel]] and Pink Floyd.<ref>{{cite web | url=https://www.loudersound.com/features/steve-rothery-people-still-think-marillion-are-a-scottish-heavy-metal-band | title=Steve Rothery: "People still think Marillion are a Scottish heavy metal band" | work=Louder | first=Mark | last=Blake | date=22 March 2017 | access-date=23 August 2019 | archive-date=6 December 2020 | archive-url=https://web.archive.org/web/20201206110719/https://www.loudersound.com/features/steve-rothery-people-still-think-marillion-are-a-scottish-heavy-metal-band | url-status=live }}</ref><ref>{{cite web | url=https://www.express.co.uk/entertainment/music/661086/Marillion-singer-Fish-favourite-music-albums | title=Former Marillion singer Fish: My six best albums | work=express.co.uk | first=Caroline | last=Rees | date=15 April 2016 | access-date=23 August 2019 | archive-date=23 August 2019 | archive-url=https://web.archive.org/web/20190823171249/https://www.express.co.uk/entertainment/music/661086/Marillion-singer-Fish-favourite-music-albums | url-status=live }}</ref> Authors [[Paul Hegarty (musician)|Paul Hegarty]] and Martin Halliwell have pointed out that the neo-prog 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.{{sfn|Hegarty|Halliwell|2011|p=184}} 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.{{sfn|Macan|1997|p=197}}