Editing Progressive rock (section)

====Background and roots====
{{See also|Progressive jazz}}

In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like [[the Beatles]], [[the Beach Boys]] and [[the Byrds]] who fused elements of [[cultivated music]] with the [[vernacular music|vernacular traditions]] of rock.{{sfn|Holm-Hudson|2013|p=85}} Progressive rock was predicated on the "progressive" pop groups from the 1960s who combined rock and roll with various other music styles such as Indian [[raga]]s, [[Music of Asia|oriental]] melodies and [[Gregorian chant]]s, like the Beatles and [[the Yardbirds]].{{sfn|Prown|Newquist|1997|p=78}} The Beatles' [[Paul McCartney]] said in 1967: "we [the band] got a bit bored with 12 bars all the time, so we tried to get into something else. Then came Dylan, [[the Who]], and the Beach Boys. ... We're all trying to do vaguely the same kind of thing."{{sfn|Philo|2014|p=119}} Rock music started to take itself seriously, paralleling earlier attempts in jazz (as [[Swing music|swing]] gave way to [[Bebop|bop]], a move which did not succeed with audiences). In this period, the [[popular song]] began signalling a new possible means of expression that went beyond the three-minute [[love song]], leading to an intersection between the "underground" and the "establishment" for listening publics.{{sfn|Moore|2016|p=201}}{{refn|group=nb|Allan Moore writes: "It should be clear by now that, although this history appears to offer a roughly chronological succession of styles, there is no single, linear history to that thing we call ''popular song''.&nbsp;... Sometimes it appears that there are only peripheries. Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid 1960s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles. But by 1970 this monolothic position had again broken down. Both [[the Edgar Broughton Band]]'s '[[Apache Dropout]]' and [[Edison Lighthouse]]'s '[[Love Grows (Where My Rosemary Goes)|Love grows]]' were released in 1970 with strong Midlands/London connections, and both were audible on the same radio stations, but were operating according to very different aesthetics."{{sfn|Moore|2016|pp=199–200}}}}

Hegarty and Halliwell identify the Beatles, the Beach Boys, [[the Doors]], [[the Pretty Things]], [[the Zombies]], [[the Byrds]], [[the Grateful Dead]] and [[Pink Floyd]] "not merely as precursors of progressive rock but as essential developments of progressiveness in its early days".{{sfn|Hegarty|Halliwell|2011|p=11}} According to musicologist [[Walter Everett (musicologist)|Walter Everett]], the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums ''[[Rubber Soul]]'' (1965) and ''[[Revolver (Beatles album)|Revolver]]'' (1966) "encouraged a legion of young bands that were to create progressive rock in the early 1970s".{{sfn|Everett|1999|p=95}} Dylan's poetry, [[the Mothers of Invention]]'s album ''[[Freak Out!]]'' (1966) and the Beatles' ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' (1967) were all important in progressive rock's development.<ref name="AMProg" /> The productions of [[Phil Spector]] were key influences,{{sfn|Martin|1998|p=47}} as they introduced the possibility of using the recording studio to create music that otherwise could never be achieved.{{sfn|Tamm|1995|p=29}} The same{{vague|date=September 2016}} is said for the Beach Boys' ''[[Pet Sounds]]'' (1966), which [[Brian Wilson]] intended as an answer to ''Rubber Soul''<ref>{{cite web|url=http://www.stereogum.com/1892600/tomorrow-never-knows-how-1966s-trilogy-of-pet-sounds-blonde-on-blonde-and-revolver-changed-everything/franchises/sounding-board/|first=Ryan|last=Leas|title=Tomorrow Never Knows: How 1966's Trilogy Of ''Pet Sounds'', ''Blonde On Blonde'', And ''Revolver'' Changed Everything|publisher=[[Stereogum]]|date=5 August 2016|access-date=15 February 2017|archive-date=14 February 2017|archive-url=https://web.archive.org/web/20170214190644/http://www.stereogum.com/1892600/tomorrow-never-knows-how-1966s-trilogy-of-pet-sounds-blonde-on-blonde-and-revolver-changed-everything/franchises/sounding-board/|url-status=live}}</ref> and which in turn influenced the Beatles when they made ''Sgt. Pepper''.{{sfn|Martin|1998|p=53}}{{sfn|Cotner|2001|p=30}}

Dylan introduced a literary element to rock through his fascination with the [[Surrealism|Surrealists]] and the [[Symbolism (movement)|French Symbolists]], and his immersion in the New York City art scene of the early 1960s.{{sfn|Curtis|1987|p=156-7}} The trend of bands with names drawn from literature, such as [[the Doors]], [[Steppenwolf (band)|Steppenwolf]] and [[The Ides of March (band)|the Ides of March]], were a further sign of rock music aligning itself with high culture.{{sfn|Curtis|1987|p=179}} Dylan also led the way in blending rock with folk music styles. This was followed by folk rock groups such as the Byrds, who based their initial sound on that of the Beatles.<ref>{{cite book|last=Jackson|first=Andrew Grant|title=1965: The Most Revolutionary Year in Music|year=2015|publisher=Thomas Dunne Books|isbn=978-1-250-05962-8|pages=64–65}}</ref> In turn, the Byrds' vocal harmonies inspired those of [[Yes (band)|Yes]],{{sfn|Martin|1996|p=4}} and [[British folk rock]] bands like [[Fairport Convention]], who emphasised instrumental virtuosity.{{sfn|Hegarty|Halliwell|2011|pp=54–55}} Some of these artists, such as [[the Incredible String Band]] and [[Shirley Collins|Shirley]] and [[Dolly Collins]], would prove influential through their use of instruments borrowed from world music and [[early music]].{{sfn|Sweers|2004|p=72,204}}