Most people have heard of progressive rock (or prog rock, or simply prog) but the great majority of them treat it with mild disdain (at best) or outright hatred (at worst). Most of the criticism is a mindless rejection based on current trends and a misunderstanding of the genre; “dinosaur” is a common term of abuse, neatly parodied by Adrian Belew on King Crimson’s 1994 album Thrak
There is an increasing quantity of literature on the subject, ranging from the analytical or academic (Edward Macan, Rocking the Classics; Kevin Holme-Hudson, Progressive Rock Revisited) to the fairly straightforward lists (Charles Snider, The Strawberry Bricks Guide to Progressive Rock.) There are also thousands of fans out there who not only continue to attend concerts, but also contribute to a growing network of fanzines and on-line forums. Fans are even served by Prog, a glossy magazine from Future Publishing now in its ninth year, entirely devoted to prog in all its forms
The ProgBlog has been put together to encourage discussion about progressive rock music illustrated by personal observation
The award-winning ProgBlog
The original aim of the blog was to promote discussion about all and any facet of progressive rock but from time to time, bands and musicians contact ProgBlog with new prog-related material that they want to expose to a wider audience; ProgBlog's album of 2017 An Invitation by Amber Foil was one such approach.
The DISCovery section has been introduced to better serve the requirements of musicians who contact ProgBlog with the aim of increasing the audience for their music; without music there can be no discussion of music.
Thomas Hamer Kelly V was born on April 18, 1952 and grew up in Rancho Palos Verdes, California. His mother took Tom to a concert by Andres Segovia when he was five and thus began his great love affair with the guitar. His mother procured one for him and found a student of Segovia’s to give him lessons. He eventually learned other instruments, especially keyboards of all kinds, but the guitar was his first and deepest commitment.
Three recordings, Burnt Peas, A Quail's House and Spinning through Eternity are being made available after his untimely death in 2017. Each album was composed and performed entirely by Tom alone, and are available as downloads or CD via CD Baby
The year 2019 finds the human species standing at a crossroads, with only two possible directions: survival or extinction. It is the proper place of artists to contribute their strong and clear voices to dialogues that could lead to our survival and renewal.
Sometimes it seems that those in positions of power are more intent on either feathering their own nests or otherwise preserving the levers of self-interest at the expense of the less well-off, the sick, the dispossessed and the environment. I’ve always believed that music has a role to play in highlighting inequality and the misuse of power, traditionally the preserve of folk musicians who were responsible for contributing an anti-establishment philosophy to a nascent progressive scene.
Roger Waters has been leading the assault on reactionary politics since the birth of neoliberalism in the late 70s but the recent rise of populist leaders, playing on general insecurities, seems to have prompted a wave of bands to offer a robust defence of progressive politics and attack the illiberal policies of Trump, Bolsonaro and others, from acts like Marillion and The Tangent to ideas expressed in Steve Hackett’s forthcoming album At the Edge of Light. Adding their voice to the full gamut of protest with a more traditional folk-rock approach are Canada’s Twilight Fields with Songs from the Age of Ruin. This is music that asks big questions about life and loss, so if you want party-rock, look elsewhere.