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Prospero
Prospero
Jul 3rd 2017 | by D.H.
DAVID WEIGEL’S “The Show That Never Ends: The Rise and Fall of Prog Rock”
has an impossible job: to elucidate 20 years of musical history in 350-odd pages.
To make matters worse, Mr Weigel must do this with a genre of music
unfamiliar to the average reader thanks to a dearth of hit singles, radio play or
cultural touchstones. Prog (progressive) rock is ambitious, difficult, long-form,
often instrumental music that freely mixes high and lowbrow elements and is
frequently created by musicians with long hair, tall boots and monster chops.
Despite its success in the 1970s, prog rock remains trapped in amber: listening
to a 20-minute song with subtitled movements is no longer the norm.
If the fall of prog at the brass-knuckled hand of punk is well known, its
beginnings are less so. Mr Weigel finds the genre’s birth in the heart of the 1960s
psychedelic era: the progenitors of prog were young, talented and unsatisfied
with the typical three-minute song structure. In their desire to chart new
territory, they threw away the map. Labels allowed bands to experiment, and
prog was lauded by critics who recognised the ambition.
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From this communal house, Mr Weigel pivots to his exemplar, King Crimson (in
prog circles, there is King Crimson and then there is everybody else). Mr Weigel
uses Robert Fripp, the band’s leader and experimental guitarist, as his Great Man
of Prog—much like Ken Burns deployed Louis Armstrong to try and explain all of
jazz. Mr Weigel traces Mr Fripp’s every movement and collaboration, depicting
him as prog’s invisible hand, motivated by infallible intuition. It is a convenient
trope, but eventually it gets tiresome.
To round out the book, Mr Weigel outlines the careers of his other first-tier prog
bands: Yes, Genesis and Emerson, Lake, & Palmer (his prog is largely an English
phenomenon: no Captain Beefheart or Frank Zappa here). Along the way, the
author throws in passing nods to Rush, Jethro Tull, Mike Oldfield and Van der
Graaf Generator, with just the barest mentions of Magma, Gentle Giant,
Hawkwind and Tangerine Dream (the pace of the material leaves the reader
feeling not so much sitting in the studio as viewing it from a high-speed train).
Even still, the overlooking of titles such as “Tommy” by The Who, Pink Floyd’s
“Dark Side of the Moon” and Queen’s “Bohemian Rhapsody” is glaring. These are
works that should be considered at the heart of prog by any criterion—unless
the genre’s definition is marked by the obscure and unknown.
The hope of a book like “The Show That Never Ends” is not only to extol Keith
Emerson’s hands, Peter Gabriel’s wardrobe or Jon Anderson’s elfin tenor. It
works as an invitation to explore the dark corners of prog: its international
reach, its cultish esotericism and its fondness for ostentatious album covers
adorned with flying teapots, armadillo tanks and fantasy landscapes as detailed
as the music.
Prospero
Jul 3rd 2017 | by D.H.
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