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The Foremost Breakthroughs of Progressive Rock?
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meAsoi View Drop Down
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Originally posted by AFlowerKingCrimson AFlowerKingCrimson wrote:

I guess I'm going to have to disagree about Trespass being their big prog breakthrough.I'd say Foxtrot at the earliest especially if we are talking the US.
Genesis defines their trademark pastoral sound on Trespass. It blended English folk and progressive rock elements, featuring a heavier-sounding nine-minute track, The Knife. It was released in Italy, under the Charisma license, on the major European label Phillips, which also operated in what was then West Germany, distributing records throughout Western Europe. Consequently, Trespass reached No. 1 in Belgium in 1971. Genesis toured Italy and Belgium in early 1971 alongside fellow Charisma labelmates Van der Graaf Generator (and Lindisfarne). Both bands gained popularity in those nations. This marked a significant breakthrough for the genre.

In the US, meanwhile, in the early 1970s, the Genesis and Van der Graaf Generator approach to progressive rock was regarded as “snob rock” by most; back then, for instance, Jethro Tull was perceived as “hard rock” in the US, which is why they found early success there. Although the aforementioned Italy and Belgium are relatively small markets compared to the US market, those countries have been far more engaged with progressive rock than other markets, which has been beneficial for the genre. Steve Hackett believed that the sensibilities of Catholic countries generally aligned well with Genesis. I think the classical heritage in Europe really captures it.
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Cosmiclawnmower View Drop Down
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Originally posted by meAsoi meAsoi wrote:

Originally posted by AFlowerKingCrimson AFlowerKingCrimson wrote:

I guess I'm going to have to disagree about Trespass being their big prog breakthrough.I'd say Foxtrot at the earliest especially if we are talking the US.
Genesis defines their trademark pastoral sound on Trespass. It blended English folk and progressive rock elements, featuring a heavier-sounding nine-minute track, The Knife. It was released in Italy, under the Charisma license, on the major European label Phillips, which also operated in what was then West Germany, distributing records throughout Western Europe. Consequently, Trespass reached No. 1 in Belgium in 1971. Genesis toured Italy and Belgium in early 1971 alongside fellow Charisma labelmates Van der Graaf Generator (and Lindisfarne). Both bands gained popularity in those nations. This marked a significant breakthrough for the genre.

In the US, meanwhile, in the early 1970s, the Genesis and Van der Graaf Generator approach to progressive rock was regarded as “snob rock” by most; back then, for instance, Jethro Tull was perceived as “hard rock” in the US, which is why they found early success there. Although the aforementioned Italy and Belgium are relatively small markets compared to the US market, those countries have been far more engaged with progressive rock than other markets, which has been beneficial for the genre. Steve Hackett believed that the sensibilities of Catholic countries generally aligned well with Genesis. I think the classical heritage in Europe really captures it.

It didnt help matters that in the States, Dunhill (part of the ABC group) label released trespass initially on its 'Impulse!' imprint which was a predominantly Jazz label. It did re-issue it on Dunhill/ ABC along with VDGG but i don't think there was any promotion so very little interest. Most of the US presses of Trespass that made their way back to UK collectors tend to be either 'Impulse!' or white label radio promo Dunhill which tell you very little actual standard stock was pressed or made it on to the markets. With Nursery Cryme and Foxtrot, although Charisma was licensed and pressed by Buddha records, it was so difficult to obtain (initially) that most copies were UK imported into the States. I think there were about 3 separate US re-issues before 'Best of Genesis' double lp which featured both. None of this was going to help them get anything but minimum interest but they certainly were not the only band to suffer from this. 

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Valdez View Drop Down
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I’d sure like to find a copy of trespass on Dunhill Impulse. Just as a collectors piece. Probably quite rare!
https://bakullama1.bandcamp.com/album/new-2025-broken-hearts-troubled-minds
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Valdez View Drop Down
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I’m of the opinion that Genesis didn’t make its big mark until Lamb hit the shelves. Sure they had a following, but Lamb pushed them to huge acclaim in the U.S. it was a monster here. I could be wrong.
https://bakullama1.bandcamp.com/album/new-2025-broken-hearts-troubled-minds
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AFlowerKingCrimson View Drop Down
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Originally posted by Valdez Valdez wrote:

I’m of the opinion that Genesis didn’t make its big mark until Lamb hit the shelves. Sure they had a following, but Lamb pushed them to huge acclaim in the U.S. it was a monster here. I could be wrong.

I'm not sure if I would say "huge" acclaim but they were starting to play bigger venues by then. Not really a monster either unless you are talking about quality. The album didn't go gold until 1990.
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meAsoi View Drop Down
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Originally posted by Cosmiclawnmower Cosmiclawnmower wrote:

Originally posted by meAsoi meAsoi wrote:

Originally posted by AFlowerKingCrimson AFlowerKingCrimson wrote:

I guess I'm going to have to disagree about Trespass being their big prog breakthrough.I'd say Foxtrot at the earliest especially if we are talking the US.
Genesis defines their trademark pastoral sound on Trespass. It blended English folk and progressive rock elements, featuring a heavier-sounding nine-minute track, The Knife. It was released in Italy, under the Charisma license, on the major European label Phillips, which also operated in what was then West Germany, distributing records throughout Western Europe. Consequently, Trespass reached No. 1 in Belgium in 1971. Genesis toured Italy and Belgium in early 1971 alongside fellow Charisma labelmates Van der Graaf Generator (and Lindisfarne). Both bands gained popularity in those nations. This marked a significant breakthrough for the genre.

In the US, meanwhile, in the early 1970s, the Genesis and Van der Graaf Generator approach to progressive rock was regarded as “snob rock” by most; back then, for instance, Jethro Tull was perceived as “hard rock” in the US, which is why they found early success there. Although the aforementioned Italy and Belgium are relatively small markets compared to the US market, those countries have been far more engaged with progressive rock than other markets, which has been beneficial for the genre. Steve Hackett believed that the sensibilities of Catholic countries generally aligned well with Genesis. I think the classical heritage in Europe really captures it.

It didnt help matters that in the States, Dunhill (part of the ABC group) label released trespass initially on its 'Impulse!' imprint which was a predominantly Jazz label. It did re-issue it on Dunhill/ ABC along with VDGG but i don't think there was any promotion so very little interest. Most of the US presses of Trespass that made their way back to UK collectors tend to be either 'Impulse!' or white label radio promo Dunhill which tell you very little actual standard stock was pressed or made it on to the markets. With Nursery Cryme and Foxtrot, although Charisma was licensed and pressed by Buddha records, it was so difficult to obtain (initially) that most copies were UK imported into the States. I think there were about 3 separate US re-issues before 'Best of Genesis' double lp which featured both. None of this was going to help them get anything but minimum interest but they certainly were not the only band to suffer from this. 
Genesis indeed experienced their breakthrough in the US on a scale that was notably significant even for such a large market, solely with A Trick of the Tail, the album and tour, as @Hosydi pointed out in another thread.

However, it may also be worth mentioning that Genesis' sound changed with ATotT, transitioning into what would eventually be referred to as neo-prog in contrast to their earlier English folk-tinged symphonic prog albums.
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meAsoi View Drop Down
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Points: 1227 		Post Options Post Options   Thanks (1) Thanks(1)   Quote meAsoi Quote  Post ReplyReply Direct Link To This Post Posted: 2 hours 31 minutes ago at 17:29
Originally posted by BrufordFreak BrufordFreak wrote:

Originally posted by meAsoi meAsoi wrote:

Originally posted by Grumpyprogfan Grumpyprogfan wrote:

Not from the dinosaur prog days but in 1982, Allan Holdsworth releasing i.o.u. was a game changer.
For the jazz-rock genre, in my opinion, the game-changer could have been only Larry Coryell's Barefoot Boy, released in 1971, not an album released in the early 80s.

Great choice: great album! But Spaces came out in late 1970 even though the material was recorded in March of 1969! A trio core of Larry, Billy Cobham, and Miroslav Vitous with a song each collaborated with Joe Zawinul and John McLaughlin!!! Talk about breakthrough stuff! 

Even though I like Spaces and I believe it's a criminally underrated progressive jazz masterpiece, I think that Barefoot Boy is the first truly jazz-rock album of Coryell and a real breakthrough for guitar-orientated jazz-rock.
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MortSahlFan View Drop Down
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Chicago

https://www.youtube.com/c/LoyalOpposition

https://www.scribd.com/document/382737647/MortSahlFan-Song-List
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meAsoi View Drop Down
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Points: 1227 		Post Options Post Options   Thanks (1) Thanks(1)   Quote meAsoi Quote  Post ReplyReply Direct Link To This Post Posted: 1 hour 55 minutes ago at 18:05
Originally posted by Valdez Valdez wrote:

I’m of the opinion that Genesis didn’t make its big mark until Lamb hit the shelves. Sure they had a following, but Lamb pushed them to huge acclaim in the U.S. it was a monster here. I could be wrong.
In the UK, Trespass received critical acclaim, which was significant for the genre during its early stages. A review in Melody Maker described the album as "tasteful, subtle, and refined" and awarded it Album of the Month, despite it being released in the same month as esteemed albums such as Pink Floyd's Atom Heart Mother, Led Zeppelin III, and Elton John's Tumbleweed Connection.
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