Editing Progressive rock (section)

====Proto-prog and psychedelia{{anchor|Symphonic rock}}====
{{Main|Proto-prog|Psychedelic rock|Acid rock}}
{{See also|Rock opera|Canterbury scene}}
{{Cite check|section|date=March 2016}}

According to [[AllMusic]]: "Prog-rock began to emerge out of the British psychedelic scene in 1967, specifically a strain of classical/symphonic rock led by [[the Nice]], [[Procol Harum]], and [[the Moody Blues]] (''[[Days of Future Passed]]'')."<ref>{{cite web|author1=Anon|title=Prog-Rock|url=http://www.allmusic.com/subgenre/prog-rock-ma0000002798|website=[[AllMusic]]|date=n.d.|access-date=23 July 2016|archive-date=8 February 2016|archive-url=https://web.archive.org/web/20160208051215/http://www.allmusic.com/subgenre/prog-rock-ma0000002798|url-status=live}}</ref> The availability of newly affordable recording equipment coincided with the rise of a London [[underground (British subculture)|underground]] scene at which the psychedelic drug LSD was commonly used. Pink Floyd and [[Soft Machine]] functioned as [[house band]]s at all-night events at locations such as [[Middle Earth (club)|Middle Earth]] and the [[UFO Club]], where they experimented with sound textures and long-form songs.{{sfn|Sweers|2004|p=114–15}}{{refn|group=nb|Beatles member [[John Lennon]] is known to have attended at least one such event, a [[happening]] called [[the 14 Hour Technicolor Dream]].{{sfn|O'Brien|1999|}} [[Paul McCartney]] was deeply connected to the underground through his involvement with the [[Indica Gallery]].{{sfn|Miles|1999|}}}} Many psychedelic, folk rock and early progressive bands were aided by exposure from [[BBC Radio 1]] DJ [[John Peel]].{{sfn|Sweers|2004|p=119}} [[Jimi Hendrix]], who rose to prominence in the London scene and recorded with a band of English musicians, initiated the trend towards guitar virtuosity and eccentricity in rock music.{{sfn|Martin|1998|pp=164–65}} The Scottish band 1-2-3, later renamed [[Clouds (60s rock band)|Clouds]], were formed in 1966 and began performing at London clubs a year later. According to ''Mojo''{{'s}} George Knemeyer: "some claim [that they] had a vital influence on prog-rockers such as Yes, The Nice and Family."{{sfn|Hogg|1994|}}

Symphonic rock artists in the late 1960s had some chart success, including the singles "[[Nights in White Satin]]" (the Moody Blues, 1967) and "[[A Whiter Shade of Pale]]" (Procol Harum, 1967).<ref name="FowlesWade2012"/> The Moody Blues established the popularity of symphonic rock when they recorded ''Days of Future Passed'' together with the [[London Festival Orchestra]].{{sfn|Macan|1997|pp=21–22}} Classical influences sometimes took the form of pieces adapted from or inspired by classical works, such as [[Jeff Beck]]'s ''[[Beck's Bolero]]'', [[Love Sculpture]]'s<ref>{{Cite web |last=Breznikar |first=Klemen |author-link=Klemen Breznikar|date=2023-08-25 |title=Pour Nous Autres {{!}} Interview {{!}} Lost Prog Rock from Montreal |url=https://www.psychedelicbabymag.com/2023/08/pour-nous-autres-interview-lost-prog-rock-from-montreal.html |access-date=2024-12-08 |website=[[It's Psychedelic Baby! Magazine]] |language=en-US}}</ref> [[L'Arlésienne (Bizet)|''Farandole (Arlésienne Suite No 2. Movement 4)'']] and parts of the Nice's ''[[Ars Longa Vita Brevis (album)|Ars Longa Vita Brevis]]''. The latter, along with such tracks as "[[Blue Rondo à la Turk|Rondo]]" and "[[America (West Side Story song)|America]]", reflect a greater interest in music that is entirely instrumental. ''Sgt. Pepper's'' and ''Days'' both represent a growing tendency towards [[song cycle]]s and suites made up of multiple [[Movement (music)|movements]].{{sfn|Macan|1997|pp=21–22}}

[[Focus (band)|Focus]] incorporated and articulated jazz-style chords, and irregular off-beat drumming into their later rock-based riffs, and several bands that included jazz-style [[horn section]]s appeared, including [[Blood, Sweat & Tears]] and [[Chicago (band)|Chicago]]. Of these, Martin highlights Chicago in particular for their experimentation with suites and extended compositions, such as the "[[Ballet for a Girl in Buchannon]]" on ''[[Chicago (album)|Chicago II]]''.{{sfn|Martin|1998|pp=163–164}} Jazz influences appeared in the music of British bands such as [[Traffic (band)|Traffic]], [[Colosseum (band)|Colosseum]] and [[If (band)|If]], together with [[Canterbury scene]] bands such as [[Soft Machine]] and [[Caravan (band)|Caravan]]. Canterbury scene bands emphasised the use of wind instruments, complex chord changes and long improvisations.{{sfn|Macan|1997|p=20}} Martin writes that in 1968, "full-blown progressive rock" was not yet in existence; however, albums were released by three bands who would later come to the forefront of the music: Jethro Tull, Caravan and Soft Machine.{{sfn|Martin|1998|p=168}}

{{Listen
|pos=right
|filename=King Crimson - The Court of the Crimson King.ogg
|title="The Court of the Crimson King" (1969)
|description=Macan writes that King Crimson's album "displays every element of the mature progressive rock genre&nbsp;... [and] exerted a powerful extramusical influence on later progressive rock bands".{{sfn|Macan|1997|p=23}}
}}

The term "progressive rock", which appeared in the liner notes of Caravan's 1968 [[Caravan (Caravan album)|self-titled debut LP]], came to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music.{{sfn|Macan|1997|p=26}}{{sfn|Bowman|2001|p=184}} The Nice, the Moody Blues, Procol Harum and Pink Floyd all contained elements of what is now called progressive rock, but none represented as complete an example of the genre as several bands that formed soon after.{{sfn|Macan|1997|pp=22–23}} Almost all of the genre's major bands, including Jethro Tull, King Crimson, Yes, [[Genesis (band)|Genesis]], [[Van der Graaf Generator]], [[Emerson, Lake & Palmer|ELP]], [[Gentle Giant]], [[Barclay James Harvest]] and [[Renaissance (band)|Renaissance]], released their debut albums during the years 1968–1970. Most of these were folk-rock albums that gave little indication of what the bands' mature sound would become, but King Crimson's ''[[In the Court of the Crimson King]]'' (1969) and Yes' [[Yes (Yes album)|self-titled debut album]] (1969) were early, fully formed examples of the genre.{{sfn|Macan|1997|p=23}}{{refn|group=nb|They are also generally credited as the first global standard-bearers of symphonic rock.<ref name="FowlesWade2012">{{cite book|last1=Fowles|first1=Paul|last2=Wade|first2=Graham|title=Concise History of Rock Music|url=https://books.google.com/books?id=nW2-7BrEUOEC&pg=PA125|year=2012|publisher=Mel Bay Publications|isbn=978-1-61911-016-8|page=125|access-date=12 October 2016|archive-date=23 February 2017|archive-url=https://web.archive.org/web/20170223162202/https://books.google.com/books?id=nW2-7BrEUOEC&pg=PA125|url-status=live}}</ref>}}