The Show That Never Ends: The Rise and Fall of Prog Rock

The Show That Never Ends: The Rise and Fall of Prog Rock

by David Weigel


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The Show That Never Ends: The Rise and Fall of Prog Rock by David Weigel

The wildly entertaining story of progressive rock, the music that ruled the 1970s charts—and has divided listeners ever since.The Show That Never Ends is the behind-the-scenes story of the extraordinary rise and fall of progressive (“prog”) rock, epitomized by such classic, chart-topping bands as Yes, Genesis, Pink Floyd, Jethro Tull, and Emerson Lake & Palmer, and their successors Rush, Styx, and Asia.With inside access to all the key figures, Washington Post national reporter David Weigel tells the story with the gusto and insight Prog Rock’s fans (and its haters) will relish. Along the way, he explains exactly what was “progressive” about Prog Rock, how it arose from psychedelia and heavy metal, why it dominated the pop charts but then became so despised that it was satirized in This Is Spinal Tap, and what fuels its resurgent popularity today.

Product Details

ISBN-13: 9780393242256
Publisher: Norton, W. W. & Company, Inc.
Publication date: 06/13/2017
Pages: 368
Sales rank: 408,372
Product dimensions: 6.00(w) x 9.30(h) x 1.40(d)

About the Author

David Weigel is a national reporter for the Washington Post. He has written for Bloomberg Businessweek, Slate, Reason, GQ, Esquire, USA Today, Rolling Stone, Politico, and many other journals. He lives in Washington, DC.

Table of Contents

Introduction ix

1 Children of the Blitz 1

2 The Psychedelic Boom 18

3 A Billion Times the Impact 40

4 Moog Men 64

5 A Higher Art Form 89

6 Hammers and Bells 117

7 Complexity Freaks 147

8 Fripperies 168

9 Death Knell 198

10 Neo-Prog 227

11 The Nostalgia Factory 254

Epilogue 279

Acknowledgments 291

Notes 295

Photo Credits 325

Index 327

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The Show That Never Ends: The Rise and Fall of Prog Rock 2 out of 5 based on 0 ratings. 1 reviews.
dw01 More than 1 year ago
Very uneven and a bit of a ramble. The author certainly appears to know the topic, but his bias shows more than a bit. Strong emphasis is placed in tracing the careers of some musicians and bands, including many relatively minor ones, but others are conspicuously absent. Yes, Genesis, ELP, the various Robert Fripp bands, Rush, and even Jethro Tull are discussed, as are many others, but (for example) it appears that the author felt that Pink Floyd and their influence on the genre was not worth discussing in any detail.