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Progressive rock bands often use concept albums, in which a theme or storyline is explored throughout an entire album or series of albums, sometimes in a manner similar to a film or a play. These are often called "rock operas". In the days of vinyl, concept albums extended to two or even three record sets with striking gatefold sleeves. Notable examples include The Lamb Lies Down on Broadway by Genesis and Pink Floyd's The Wall (which was followed by an elaborate live show and a film of the same name).[1]
Sgt. Pepper's Lonely Hearts Club Band helped to start the trend of elaborate album art.
Sgt. Pepper's Lonely Hearts Club Band helped to start the trend of elaborate album art.
Progressive rock often uses poetic, conceptually-themed or fantasy-based lyrics. The music's melodies, harmonies, rhythms and dynamics are often used to underscore the emotional message of the lyrics have. Some progressive rock songs use leitmotifs, which are melodic phrases that are associated with a symbolic meaning or a specific character from the lyrics (e.g., in Genesis' "Harold the Barrel".
Progressive rock bands sometimes aesthetically link the music with visual art elements such as album art. This trend started with The Beatles' Sgt. Pepper's Lonely Hearts Club Band and it was embraced during the heyday of progressive rock. Some bands became as well-known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean for his work with Yes and Storm Thorgerson and his studio Hipgnosis for their work with Pink Floyd. H.R. Giger painted an album cover for Emerson, Lake and Palmer's Brain Salad Surgery. Paul Whitehead produced evocative gatefold album covers and sleeves for Genesis and Van der Graaf Generator. Hugh Syme is well known for his creatively painted covers for Rush that often incorporate hidden references to other albums or puns on the album's theme.
Technology advancement was always a prime element in progressive rock, especially in electronics. In keyboards, the Mellotron was generally a signature sound in many progressive acts like The Moody Blues, King Crimson or Genesis, among others. Later, synthesisers would develope more into the fold with artists like Emerson, Lake and Palmer, Yes, Premiata Forneria Marconi and so forth. ELP drummer Carl Palmer utilised electronics to "synthesise" his drums. Some of these early displays have been considered as pre-cursors to the Techno genre. In the late 1970s, King Crimson's Robert Fripp along with Brian Eno developed his own patented version of electronic gadgetry called Frippertronics using analog tape loops which he still uses today in a digital format.
[edit] Stage theatrics
Progressive rock artists were known for their elaborate and sometimes flamboyant stage theatrics in concert going back to the early 1970s. Genesis lead singer Peter Gabriel would more or less act as a quick-change artist wearing many different colourful and exotic costumes in one show. Yes would incorporate futuristic stage sets designed by album cover artist Roger Dean, including massive spaceship props and complex lighting, and were thus influential to all of the rock world in adding a strong visual art aspect to live concerts. Rick Wakeman would have knights riding on horses. In the 1980s, Marillion's former lead singer Fish would often wear a jester costume inspired by the band's first album Script for a Jester's Tear. One of Emerson, Lake and Palmer's many stage antics was Emerson's "flying piano" at the famous California Jam concert. This consisted of a Steinway grand piano elevated to spin end-over-end while Emerson is strapped to a seat. Throughout Pink Floyd's run in the 1970s, they would use many stage effects including crashing airplanes, a giant floating pig, massive projection screens and in 1980, an enormous mock brick wall for The Wall performances. Rush frequently incorporated lasers into their stage show.
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