by Tim Higgins

Created on: March 17, 2008

As guilty pleasures go, there are few to match Progressive rock. Loathed by critics, many people are reluctant to admit to their loved ones their love this much-ridiculed genre. But there is a rich texture to be found, exemplified by the five bands I've selected for my 'best of prog' list. In these, you will find the characteristics which influenced not only the other progressive bands, but numerous musical acts across the rock palate. Come with me on a journey of musical prowess, extended song forms, unusual instrumentation, juxtaposition of styles and textures and of course concept albums and capes.

I won't try here to state exactly what makes music progressive, as it's a topic far too subjective to be dissected fairly in a few paragraphs. However, in seeing my nominations for the top five progressive bands, a clear image of the genre will emerge. Being very strict with myself, I have omitted several of my own favorites from the shortlist, including Jethro Tull. Although highly popular worldwide, their folk-rock mix was definitely not the first of its kind and the concept albums of the seventies came more as a response to the musical climate. Also, as astounding and hugely popular as they were, Emerson Lake and Palmer always seemed more to me to be Classical music with rock instrumentation, a hybrid, rather than a brand new style itself. But enough preamble; here we go with the first of my top five:

KING CRIMSON

King Crimson's In the Court of the Crimson King (1969) was arguably the first album to fully crystallize what we now call 'symphonic progressive rock'. Each element, from the augmented instrumentation, to beat poet Peter Sinfield's extra-worldly lyrics, became a requirement of the genre. Since the first album the lineup was unstable, changing almost every album. Despite, or maybe due to this, the band's output was always forward thinking and musically speaking, streets ahead of most other bands of the time. Finally, after making one album as a three piece in, 'Red' (1974), Fripp split up the band, claiming that progressive music had by now, ceased to exist.

Fripp did reform King Crimson, but only when he had something brand new to offer. This second creative wave, from milestone (and minimalist) album 'Discipline' (1981) onwards appeals to an audience even more select than their previous output, but it's still worth exploring. Robert Fripp and King Crimson continue to push forward the boundaries of music and remain as unique as ever. Their most recent

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