BIG FIVE

My post seventies big five 

I can't limit "A BIG LIST" to just five bands/artists. It's impossible. You can't list five without severely undermining the importance of the remaining most valuable contributors that's not included. I'd say go with the The BIG 10 of progressive rock bands that established and defined the genre between 1968 and 1978, and even then, you're still leaving out someone vital. I have a hard time not including Van Der Graaf Generator, Gentle Giant, Mahavishnu Orchestra and Mike Oldfield, but clearly you've got to draw a line somewhere. Otherwise, I'd make it 15 and maybe include one of the more obscure bands like Magma and Goblin that were also very influential.

King Crimson
Pink Floyd
Genesis
Yes
Jethro Tull
ELP
Rush
Camel
Frank Zappa et al.
Amon Düül II

As for a MODERN BIG 10 list (bands/artists that began after 1978):

Steven Wilson et al.
Opeth
Spock's Beard
Queensrÿche
Änglagård
Marillion
Dream Theatre
Tool
Riverside
The Flower Kings


Edited by ultra plinian - June 27 2014 at 17:25

Dellinger wrote: Yeah, Mike Oldfield is often forgotten in this kind of discussions, and as far as I understand he was really huge back in the time, and his music is really wonderful. Perhaps one could argue that he wasn't really prog enough, but as with Pink Floyd, when I listen to him I like him because of the same reasons I like prog music itself. Besides, it doesn't get any proggier than 4 albums in a row with only epic songs (and one of those albums being a double album).

Well said, my friend, well said.   

Altairius wrote: Big 4 of classic and modern:King CrimsonGenesisYesEmerson, Lake & PalmerMarillionIQPorcupine TreeTransatlantic

When a list of the best "modern" prog bands include two bands that began in the 80's (35 year ago), another that began in the 90's (25 years ago), and another one that began in the year 2000 (14 years ago)... it would seem to me that the genre is in some serious trouble.

Big 5 IMO:
King Crimson
Yes
ELP
Pink Floyd
Mike Oldfield

Personally: Yes, ELP, Renaissance, Camel and Rush. 

richardh wrote: silverpot wrote: SteveG wrote: lazland wrote: SteveG wrote: I'm surprised to see that people (aside from JCDenton) make so little of King Crimson. I cannot imagine modern Prog let alone ELP, Yes and '70s era Floyd sounding the same without them. I would never make so little of Crimson. I love them. But I will take issue a little big with your analysis. Yes were contemporaries of Crimson. There the comparison rather ended. Don't forget the celebrated story about Briford being invited to join KC by Fripp....."I believe you are ready to join King Crimson now"....Fripp was clearly implying that Crimson were a more advanced, mature, clever outfit than Yes. Aside from the presence of Greg Lake, I see no other connection or influence between Crimson and ELP, sorry. As for Floyd, you are a little nearer the mark, if, of course, you presuppose that much of Meddle and DSOTM were mere copies of parts of In The Court and In The Wake. I personally don't, but the influence was clearly present. Perhaps I should have said that I could not imagine them sounding exactly the same without KC. I feel that Lake was extremely influenced by KC when he composed Lucky Man, the song that brought them radio exposure to the world, and that KC's classical suite like song structures influenced Yes to a degree. The rest was all down to their own genius. Cheers Laz. According to legend, Lake composed Lucky Man in his early teens. He's also responsible for the riff of Schizoid Man. Hard to say who influenced whom. Lake wrote Lucky Man as a Bob Dillon style folk song pre KC. Fripp wouldn't let him record it with Crimson and it almost got missed off ELP's debut album (they had room for one more song and Lake apparently said something like 'well I have this little thing I wrote...' etc.)

It's remarkable to me how such a Gothic type formally constructed song with an archaic storyline that's socially relevant to the modern age and, with lyrics that might have made resident KC lyricist Peter Sinfield envious, was written before the fact by Lake. However, one should not argue against half century long musical legends.







Edited by SteveG - June 26 2014 at 13:44

I recognize the importance of ELP and Rush to the progressive rock world. I just don't like their music, especially ELP! I think putting some artist from the fringe is a brilliant idea, such as Zappa or The Soft Machine.

Usually when there's an impossible poll to vote on, it's impossible ....... All brilliant bands...

JCDenton wrote: Of all the groups here, no one has debated Yes or Genesis, so it's fair (or at least safe) to say those are absolutes. When it comes to King Crimson, Floyd, Tull, ELP, and Rush, the others in discussion for this "Big 5", commercial success as a basis for an argument just doesn't sit well with me. The reason these groups are regarded so highly is because of their influence in the big heyday of Progressive music. King Crimson is THE influence in Prog. Not too much debate possible on that. That's where half the bands mentioned above started, and too much of early Crimson defined how the genre would look even today. Crimson is widely regarded as the most important and influential and best prog band. I'm not fanboying; it's just hard to see why anyone would think they don't belong in the Big 5. As for the others, it's easier to dismiss Rush because of them being the prominent later 70's band, while what we're looking at is the biggest innovators and successes of the early groups in what's hailed as our "classic era". As for the other two slots, Floyd is the other big influence I see. Them not fitting the mold of the other groups does not matter. Psychedelic/Space Rock is still a big role (even next to big brother Symphonic Prog) in much of Prog with Floyd being the godfather to nearly all under that umbrella. Floyd is a giant in Progressive music! As for Tull and ELP, that's tough. The first four are so clear to me. Maybe there is a need for a Big 6 or even 7. Breaking down these two bands, they honestly are both very deserving. Tull: -biggest thing to me is Thick as a Brick. Making the textbook definition (and defining the standard) of the concept album -also being a big component in the inception of the stereotype of flutes in Prog ELP: -technical perfection -keyboard masturbation Hmmm…. Really tough.. Ah, who am I kidding. Keyboard masturbation (and being obnoxious) always wins. Big 5: King Crimson Yes Genesis Pink Floyd ELP

Several have commented, including myself, that we should have more than a big five. I really don't where the sacred number five came from. Is it that we have five fingers on one hand? I don't get it. I'm pushing for the magical number seven plus or minus two.