Chapter 14 – Progressive and Glitter Rock

“What started to happen in music at this time was more of the well-educated university graduate types were coming in as musicians and band members.”

Chris Blackwell of Island Records

McGraw-Hill/Irwin Copyright © 2011 by The McGraw-Hill Companies, Inc. All rights reserved.

Progressive Rock MusicProgressive rock music combines rock music and instruments with influences

from classical musicThe Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967) album:

Aleatory to create circus effects in “Being for the Benefit of Mr. Kite”Aleatory with orchestra in “A Day in the Life”Classical balance in opening song repeated near the end

Addition of classical instruments on rock recordings:String sections used in pop rock recordings 1959-1964Phil Spector’s “wall of sound” productions used other orchestral instrumentsBeatles’ use of string quartets in songs “Yesterday” and “Eleanor Rigby”

Full orchestra used by the Moody Blues beginning in 1967Most Progressive Rock bands were British, although the American Frank

Zappa somewhat fit the style

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Listening Guide:“Nights in White Satin” by the Moody Blues (1967)Tempo: 52 beats per minute, 4 beats per bar

Each beat subdivided into 3 sections, making each bar feel like 12 faster beats

Form: A section has a solo singer singing a 4-bar melody two times, accompanied by the orchestra and rock band

Orchestra louder for a 4-bar B sectionMore A and B sections follow, then a 12-bar instrumental section features flute, plucked acoustic guitar, and strings with a rock backbeat in drumsA and B sections follow the instrumental

Features: The recording begins with a swirl of sound played by strings, flute, harp, and chimes before the drums enter

Strong backbeat in drums until the orchestral finaleThe recording concludes with the recitation of a poem

Lyrics: Love has disoriented the singer. The theme of endless love letters is used to express a general sense of unrequited love.Charts: Pop, #2 for two weeks, British hits, #19

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Orchestral RockProblems working with a live orchestra:

Music must all be notated in advance because a large orchestra cannot “jam”Rehearsals music be organized and scheduled well in advanceCosts of touring with many musicians and their instruments (transportation, food, and lodging)

Solution for many progressive bands:Use a mellotron to imitate the sound of orchestral instrumentsUse just a few orchestral instruments, but not a full orchestra

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Orchestral Rock GroupsGenesis used mellotron and flute

Procol Harum included organ and added a studio orchestra with celeste, marimba, recorder, conga drums, tabla, and tambourine

Jethro Tull included flute and recorded “classical” instrumental “Bourrée” by J. S. Bach, also used synthesizer and orchestral instrumental sounds

Electric Light Orchestra had members who played violin, cello, string bass, several orchestral wind instruments, and synthesizer

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Progressive Rock Based on Classical Forms

Musicians with classical and rock training used:

Classical multi-movement forms such as the Suite (collection of dances) as basis of rock/classical compositions:

Yes’s Close to the Edge (1972) and Relayer (1974) albums

Electronic instruments and effects:King Crimson - Robert Fripp’s work with Brian Eno

Rock instrument, but played rock versions of real classical compositions:

Emerson, Lake and Palmer’s “Intermezzo” by Sibelius and Pictures at an Exhibition by Mussorgsky

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Listening Guide“Roundabout” by Yes (1971)Tempo: 135 beats per minute, 4 beats per bar most of the time, some 2

beat barsForm and Features:

The recording begins with a backward taped crescendo dissolving into guitar harmonics, that sound repeats near the end of the recording, giving a sense of classical balance to the compositionSection lengths vary greatlyBackbeat in drumsBass riffs in instrumentalsKeyboard instruments include both synthesizer and organSome group vocals are overdubbed

Lyrics: Unclear, but helpful to know that “roundabouts” are traffic circles in England, where drivers can change their course of direction if they wish

Charts: Pop, #1314-7

Progressive Rock Influenced by Avant-Garde Trends

Some avant-garde practices used by Pink Floyd:

Minimalism (systematic music)Semi-constant repetition of short melodies

Non-traditional sound makers used as instrumentsOld cash register in “Money,” and various sounds of televisions, wind, or other non-musical sounds

Aleatory“Echoes” from Pink Floyd’s Meddle (1971) album

Odd meters such as 7-beat bars“Money” from Dark Side of the Moon (1973) album

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Listening Guide“Money” by Pink Floyd (1973)Tempo: 120 beats per minute, 7 beats per bar, except for part of the instrumental and

the ending that have 4 beats per barForm: 12-bar blues in a minor keyFeatures: The recording begins with the sounds of old-fashioned cash registers ringing

and their change drawers opening.The cash resister sounds fall into a 7-beat pattern that is then picked up by the bass when it entersThe drums accent the 2nd, 4th, and 6th backbeats, leaving beats 7 and 1 as two unaccented beats in a row. Most rock backbeats based on 4-beat bars accent every other beat.A funk-style tenor saxophone solo is featured in the instrumental sectionThe bass line follows the 7-beat meter, and changes to fit the 4-beat meter during the instrumental sectionThe recording ends with casual conversation that continues into the next album cut

Lyrics: The lyrics constitute a satirical commentary on money and its effects on people, both mocking the wealthy and commenting on the underclass

Charts: Pop, #13

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Frank ZappaPlayed rhythm & blues rock guitarInterests in avant-garde art music, and jazzStressed importance of individual freedom, similar to the

ideas of the Beat writersBand of changing membership, the Mothers of Invention,

recorded songs that took stabs at conventional, conformist attitudes as phony

Outspoken style hated censorship of all kindsIn addition to rock music, Zappa composed movie scores and

music played by avant-garde classical musicians“Don’t Eat the Yellow Snow” was one of Zappa’s few pop-

chart entries

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Listening Guide“Don’t Eat the Yellow Snow” (single version), by Frank Zappa (1974)Tempo: The recording has three sections:

1) 138 beats per minute with 7 beats per bar2) Double-time section with 2-beats per bar3) 46 beats per minute, 4 beats per bar

Form: 1) 1-bar bass riff repeats with vocals above it at irregular times2) Double-time section has repetitions of a 4-bar phrase3) 30 4-beat bars, then an abrupt interruption after the first two beats of the last bar

Features: Even beat subdivisionsThe sound of wind expresses coldBackup group vocals respond to lead vocal linesDouble-time section has group vocals in rapid patter styleDescending bass line leads into final section with almost spoken lyrics1-bar riff in last section

Lyrics: A dream about an Eskimo defending his seal against a fur trader by rubbing snow with dog urine in it into his eyes and the trader reacts by rubbing “dog doo” into the dreamer’s eyes. The story is a metaphor for the coercive way in which members of society treat each other

Charts: Pop, 86

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Progressive Rock with Roots in Hard Rock

Rush, Canadian power trio, began playing songs by Led Zeppelin and CreamAlex Lifeson, guitarist with classical trainingGeddy Lee, bass playerNeil Peart, drummer and songwriter

Concept albums such as 2112 (1976) about the battle of forces in a depersonalized society in the year 2112

Added synthesizer to sound during the mid-eightiesLess active in late nineties and early two-thousandsContinues to record and tour after 2002

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Listening Guide“New World Man” by Rush (1982)Tempo: 160 beats per minute, 4 beats per barForm: A 16-bar instrumental introduction is followed by seven

sections of unequal lengths and frequent changes of keyFeatures: Both even and uneven beat subdivisions are used

Drums accent a backbeatSynthesizer repeats a 1-bar riff patternThe bass plays other riff patterns at various sections of the recording

Lyrics: The song ambiguously embraces the frenetic changes associated with scientific modernity, both celebrating them and expressing a distrust of the new world

Charts: Pop, #21, British hits, #42

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Glitter RockBeat writer Jack Kerouac’s novel On the Road (1957) impressed David

Jones (David Bowie) with expression of alienation and conformist middle-class society

Jones (Bowie after 1966), played saxophone, other instruments, and sang in Mod clubs in London

Beat writer Allen Ginsberg’s writings demanding acceptance of homosexuality inspired a trend of performers wearing androgynous dress in New York and London, Bowie became part of that movement

In addition to being an multi-instrumentalist, a singer, and songwriter, Bowie was an artist and a professional actor

First important image as spaceman Major Tom, inspired by movie 2001: A Space Odyssey (1968)

Bowie was an important glitter artist, but his music and acting does not always fit that style

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Listening Guide“Space Oddity” by David Bowie (1968)Tempo: 69 beats per minute, 4 beats per barForm: Complex with four sections of unequal lengths and little

repetitionFeatures: Recording begins with strummed acoustic guitar, then snare

drum, and military march beatString and other orchestral instruments used along with strummed

acoustic guitarElectronics and strings use glissandos as “spacy” sound effectsFrequent key changes are used to add effect of instabilityBowie’s voice is sometimes overdubbed

Lyrics: A poignant image of an astronaut lost on a space walk separated not only from earth, but his own capsule, facing death

Charts: Pop, #15, British hits, #5 and later #1

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Other Glitter Performers

Elton JohnMarc Bolan (T-Rex)Gary GlitterRoxy MusicKissAlice CooperBoy GeorgeBon Jovi (early)Queen

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Listening Guide“Bohemian Rhapsody” by Queen (1975)Tempo: 72 beats per minute, 4 beats per bar, with some variations in tempoForm and Features: Lead vocals by Freddie Mercury, but other band members

overdubbed group vocalsMini-opera begins with a cappella group vocals, then the solo ariaDrums sometimes accent a backbeat, not alwaysPercussion instruments add to lyrics, example, the word “shivers” is supported by chimesMost verses use new melodies to fit the events in the story instead of repeating music to each sectionFourth verse is faster (144 beats per minute) and uses antiphonal choruses to express positions for and against the release of the murdererHeavy bass and distorted guitar add power as the murderer begs for freedomEnding slower (80 beats per minute) and the final sound of a gong

Lyrics: The recording is a mini-opera, sung from the perspective of a man who has just committed a murder and confesses it to his mother. One chorus represents a society that begs for leniency and the other a society that wants to get rid of the murderer. An epilogue states that nothing really makes an difference anyway.

Charts: Pop, #9 and later #2, British hits, #1

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Discussion Questions

Progressive rock is often called pretentious. It is?

Why does androgyny make some people uncomfortable?

To what degree was glitter an expression of homosexuality, and to what degree was it merely rebellion against those who were easily offended by it?

Might glitter music and the surrounding culture have reflected or promoted the gay rights movement?

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