Progressive Supergroups

One of the key elements of psychedelia had been musical and instrumental experimentation. Challenging the parameters of music while still preserving its musicality is a skilful activity (particularly while on mind-altering substances) and it is this characteristic – virtuosity – that came into its own with the progressive supergroups. Many of the participants in this new movement came from the psychedelic scene while others were music college students versed in orchestral classical music. The resulting music was effectively a kind of fusion performed by the modern band rather than orchestras. Key acts within this mould were King Crimson, Yes, Pink Floyd, Genesis, Jethro Tull, Supertramp, Frank Zappa, Mike Oldfield, Roxy Music, Sky, Queen, Jefferson Starship, Marillion and Sebastian Hardie.

This genre is characterised by long tracks united into concept albums (which by the 70s were competing successfully with singles for consumer patronage). The music was complex as evidenced by frequent changes in tempo and key within a given track, and even more conventional songs tended to be anthemic. The progressive acts drew on a diversity of tools from traditional orchestral instruments like the flute to state-of-the-art keyboard-operated instruments like mellotrons (a kind of magnetic-tape operated sampler) and synthesisers.

It was surprising that music this eccentric became as popular as it did and by the end of the 70s its prominence was on the wane. The progressive legacy however is impressive. Aspects of its virtuosity have been incorporated into some metal and funk. It helped in the development of an acceptance of electronic instrumentation. And some of its veterans survived as pop purveyors of the power ballad (Jefferson Starship became Starship while Phil Collins of Genesis became an international solo star).