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In this book, the glory days of progressive rock are relived in a series of insightful essays about the key bands, songwriters and songs that made prog-rock such an innovative style.
- Sales Rank: #498315 in Books
- Brand: Brand: Routledge
- Published on: 2001-10-21
- Released on: 2001-11-22
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .66" w x 6.00" l, .89 pounds
- Binding: Paperback
- 292 pages
- Used Book in Good Condition
About the Author
Kevin Holm-Hudson is an Assistant Professor of Music Theory at the University of Kentucky.
Most helpful customer reviews
29 of 33 people found the following review helpful.
YOU BETTER HOPE SO
By Hank Napkin
The more you appreciate and enjoy music, the more it becomes incumbent upon you to understand music in terms beyond the social context, beyond "I like it" or "I don't like it". The arts are generally forgiving to lay people: you need not understand the references, the structures, the variations, the sources or the traditions. Which is a long way of saying, you don't need to understand much.
Unless you really want to enjoy what you're listening to.
This book brings together a generous spectrum of opinion on music and the battered category of Progressive Rock. I have been drawn to aspects of this musical "form" for many, many years. And while Prog includes its share of ostentatious and overblown nonsense, it also offers some genuinely original, powerful and moving music.
The positive attributes of this music are best exemplified by Gregory Karl in his analysis of King Crimson's "Larks' Tongues in Aspic" . Here at last is a lucid and insightful essay which clearly connects the music itself with its accompanying subtexts. Mr. Karl does an outstanding job of tracing the elements of the score and structure forward and backward in the King Crimson catalog to make an intellectual connection between sound and meaning. John S. Cotner's analysis of Pink Floyd's "Careful with that Axe, Eugene" is interesting in its attempt to take us through a new system of notation for a new kind of compositional technique. And there are several other essays ranging from lyrical analyses of works by Roger Waters and Adrian Belew, to the time and thematic transformation techniques of Keith Emerson, as well as other perspectives on the music of bands such as Yes and Rush.
These essays may seem dry and overly scholastic in some cases, but an untrained reader needs to look beyond the immediate and sometimes significant challenge of dealing with music theory to the understanding that this music usually goes well beyond the surface characteristics of sound and song to something more profound. In fact, if you like this musical form, this book will better help you understand why you like it, even without comprehending every nuace presented by the authors.
The only topic that seems to be missing is the role of the studio in much of this music. In many cases, signal processing techniques and studio manipulation play a significant role in the resulting music. For example, the article by Mr. Cotner, which goes to such great lengths to develop a system of notation capable of dealing with the vagaries of an Echoplex, never gives a complete nod to the sometimes "experimental" and even "accidental" origin of some of these pieces -- intellect catching up with intuition, as Brian Eno has said. None-the-less, Kevin Holm-Hudson needs to be applauded for putting together a broad-ranging, thought-provoking and -- sorry for the cliche -- challenging book that should compel you to know more about what you think you hear.
2 of 4 people found the following review helpful.
Interesting but not perfectly comprehensive
By mianfei
Progressive rock is a genre that has been consistently maligned ever since the emergence of punk around the time of my birth in the late 1970s for its movement away from the Dionysian values, working-class roots and blues-based songs characteristic of rock and roll in the days of Chuck Berry, Buddy Holly and Elvis Presley.
This is especially true in Australia, where one consistently sees progressive rock albums listed as being "the worst albums ever" in entertainment guides (I recall "Nursery Cryme" being described in that way by Melbourne newspaper The Age - I cannot myself judge having never heard a note of it or related works), and artists who weren't progressive rock are maligned and distorted if their music failed to conform with the critics' party line of simple, stripped down rock - Australia is perhaps the most prog-phobic of major rock markets.
The book attempts to outline why progressive rock is different from the simpler styles of rock that dominated in the sixties. It contrasts progressive rock with earlier styles in terms of orientation (to body or mind), social status (working or middle class), lyrics (fastasy or romance & fun); and the song structures (extended suites such as "Echoes" or "Supper's Ready" in place of simple verse-bridge-chorus songwriting).
The amin focus, sensibly, is on the "true" progressive rock bands, where the emphasis was on flashy solos rather than, as in the case of numerous other artists of the era, improvisation. However, the book, I feel, ought to define progressive rock much more clearly than it does - and explain these definitions too. Often, especially in a prog-phobic country like Australia, there was never a great deal of care in this process. Moreover, those artists lumped in with progressive rockers (whether by punks or musicologists is irrelevant) were often as radically different from each other as they are from "true" progressive rock bands.
Most of the book deals with song structures of various pieces by such bands as Yes, explaining key musical points in their songs to show how progressive rock evolved. The later part of the book focuses on the piece "2112" by Rush (based on a work by Ayn Rand) and on "math rock", a little-known genre of rock in which unorthodox time signatures and shifting rhythms are used constantly rather than as occassional changes in rhythm. This is very interesting for someone interested in music theory, but it is not done by any means thoroughly so that everything is clear to the less knowledgeable. Rather, only a few tiny fragements are given attention.
Moreover, in the latter part of the book, unauthenticated calims are made that certain critically acclaimed bands in the 1990s (like Sonic Youth, generally classed as experimental rock - a genre which in some ways is an odd point between progressive rock and punk) have been influenced by progressive rock - and if we do, it does not seem to me to be very well done even though I am not knowledgeable about the bands concerned.
However, this is a most interesting read nonetheless.
16 of 19 people found the following review helpful.
Thick as a Brick, but excellent for the thinking prog fan
By A Customer
Some previous reviewers have lambasted this book as "pretentious" (kind of funny, seeing that from alleged prog fans). What is so pretentious about an academic writer taking an "academic" perspective on rock? It's not as if this music was the Rolling Stones, after all. I don't see the pretense here; this IS an "academic" book, in that it does require some thought from the reader (it also helps to know the music that is written about well). But I enjoyed it for that very reason.
This is NOT a book for beginners, for those who want to know what prog was/is all about or for those looking for VH-1 "Behind the Music"-style bios. If you want a "survey" of progressive rock--what it was, its history, etc., check out Ed Macan's text "Rocking the Classics." If on the other hand you love this music, and maybe you're tired of reading the same facts over and over but instead you want to learn about how a body of music may be "read" from a number of different fields (philosophy, musicology, journalism), then this is for you. For that reason I would recommend it not only for serious prog fans, but for anyone interested in popular music studies.
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