Editing Progressive rock (section)

====Pet Sounds and Sgt. Pepper====
{{Main|Pet Sounds|Sgt. Pepper's Lonely Hearts Club Band}}

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|quote=Many groups and musicians played important roles in this development process, but none more than [[the Beach Boys]] and [[the Beatles]]&nbsp;... [They] brought expansions in [[harmony]], [[arrangement|instrumentation]] (and therefore [[timbre]]), [[Duration (music)|duration]], [[rhythm]], and the use of [[History of multitrack recording|recording technology]]. Of these elements, the first and last were the most important in clearing a pathway toward the development of progressive rock.
|source=– Bill Martin{{sfn|Martin|1998|p=39}}
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''Pet Sounds'' and ''Sgt. Pepper'', with their lyrical unity, extended structure, complexity, eclecticism, experimentalism, and influences derived from classical music forms, are largely viewed as beginnings in the progressive rock genre{{sfn|Macan|1997|p=15,20}}{{sfn|Martin|1998|pp=39–40}} and as turning points wherein rock, which previously had been considered dance music, became music that was made for listening to.{{sfn|Covach|1997|p=3}}{{sfn|Martin|1998|p=39}} Between ''Pet Sounds'' and ''Sgt. Pepper'', the Beach Boys released the single "[[Good Vibrations]]" (1966), dubbed a "[[pocket symphony]]" by [[Derek Taylor]], the band's publicist. The song contained an eclectic array of exotic instruments and several disjunctive key and modal shifts.{{sfn|Boone|Covach|1997|pp=41–46}} Scott Interrante of ''[[Popmatters]]'' wrote that its influence on progressive rock and the psychedelic movement "can't be overstated".<ref>{{cite magazine|last1=Interrante|first1=Scott|title=The 12 Best Brian Wilson Songs|url=http://www.popmatters.com/post/193278-the-12-best-brian-wilson-songs/|magazine=[[Popmatters]]|date=20 May 2015|access-date=9 March 2016|archive-date=21 September 2016|archive-url=https://web.archive.org/web/20160921125644/http://www.popmatters.com/post/193278-the-12-best-brian-wilson-songs/|url-status=live}}</ref> Martin likened the song to the Beatles' "[[A Day in the Life]]" from ''Sgt. Pepper'', in that they showcase "the same reasons why much progressive rock is difficult to dance to".{{sfn|Martin|1998|p=40}}

Although ''Sgt. Pepper'' was preceded by several albums that had begun to bridge the line between "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture{{sfn|Holm-Hudson|2008|p=10}} and marked the point at which the [[LP record]] emerged as a creative format whose importance was equal to or greater than that of the single.<ref name="pirenne1">{{cite conference |last=Pirenne |first=Christophe |title=The Role of Radio, 33 Records and Technologies in the Growth of Progressive Rock |book-title=Proceedings of the International Conference "Composition and Experimentation in British Rock 1966–1976" |year=2005 |access-date=27 June 2013 |url=http://www-3.unipv.it/britishrock1966-1976/testien/pir1en.htm |conference= |archive-date=7 July 2015 |archive-url=https://web.archive.org/web/20150707014112/http://www-3.unipv.it/britishrock1966-1976/testien/pir1en.htm |url-status=live }}</ref>{{refn|group=nb|LP sales first overtook those of singles in 1969.{{sfn|Sweers|2004|p=120}}}} [[Bill Bruford]], a veteran of several progressive rock bands, said that ''Sgt. Pepper'' transformed both musicians' ideas of what was possible and audiences' ideas of what was acceptable in music.{{sfn|Weigel|2012b|}} He believed that: "Without the Beatles, or someone else who had done what the Beatles did, it is fair to assume that there would have been no progressive rock."{{sfn|Bruford|2012|p=159}} In the aftermath of ''Sgt. Pepper'', magazines such as [[Melody Maker]] drew a sharp line between "pop" and "rock". Americans increasingly used the adjective "progressive" for groups like [[Jethro Tull (band)|Jethro Tull]], [[Family (band)|Family]], [[East of Eden (band)|East of Eden]], [[Van der Graaf Generator]] and [[King Crimson]].{{sfn|Zoppo|2014|p={{page needed|date=December 2016}}}}