live music at times gray, uncertain future and this gray, where the most common is to use the past the recovery of old formulas that were once the goose that lays golden eggs. In these days of Foreigner versions by Mariah Carey , the Bee Gees shot by Take That, Rolling destroyed by Britney Spears ... just a genre of 70 (melting pot of styles incomparable musical, which exploded thousands of trends in very few years) escapes this shameful trade revisionism. Everything is repeated and recovered (in a simplistic and lower quality) for the masses: punk, glam rock, disco, pop, hard rock, AOR ... but no one dares to open Pandora's box it was progressive rock. In fact it is a discredited style: pompous, virtuosity and bombast are recurrent terms when talking about him. Any other kind is minimally observed, what is the cause of this spell? Does the punk buster late 70's? "Radio stations do not accept songs that exceed four minutes? Does to musical freedom in the majors, surrendered to the economic benefits? There is much to talk about it ... but the fact is we live in this strange era when people valued Abba and not Amon Düül , which can say without blushing that you are a fan of the Carpenters , but you got to hide your drives Yes in the attic ... Maybe we should applaud such ingratitude, and that it remains immune style post-modern revisionism that has corrupted everything. Prog Prog remains, for better or for worse, we appreciate the value to be an era of unparalleled progress and excess: the Age of Dinosaurs, the big concepts and oversized egos. For a short time we had the feeling that the music would change the world (though nobody could tell it was for the better, but that mattered little.) 
we can define as the rock was more imaginative, was mainly in the 70's, although the origins are due to late psychedelia and the underground art scene in the successful London musical of the late 60's, and its consequences are still felt today in many styles ... During the 70's a group of visionaries wanted to take the rock to its limits most unlikely; wanting to give the music popular prestige that had classical music, rock engineers complexify its theme and is extending its duration and by providing formal hitherto unexplored sounds. Like all great progressive rock history (or symphonic rock as it was known in Spain) has its beginning. And probably would be sought in the productions of Phil Spector , authentic mini-operas adolescents or Snuff Garrett, a major producer of West Coast youth who knew how to skillfully use the rope on his recordings for Bobby Vee or Johnny Burnette. But if a birth should be noted Progressive Rock, would be situated in the London of 1967.
The musical melting pot that had become the second half of the sixties allowing any musician to experiment in all directions. The music publishers, promoters and managers were looking for new sensations and dared not say no to anyone. If not, who would have accepted that a group like the Moody Blues , who had a number one with a three-minute song played on their own instruments, to face a 45-rpm disc, single-minded and with a big orchestra back? The fact is that they let them do it and the result Days of Future Passed (Days of Future Past) was the official start of a new era: that of progressive rock. The album, released in 1967, might not have gone from being an experiment more but for success include Nights In White Satin, but it was not an isolated attempt. 1967 is also the mythical Sgt Peppers Lonely Hearts Club Band with which McCartney (influenced by the Pet Sounds the Beach Boys and Freak Out Frank Zappa of ) devised a disc conceptual arrangements that highlight what Schubert She's Leaving Home . Also in 67 Pink Floyd, a pop group that had become the focus of the London psychedelic scene thanks to his play of light in the scene, smoke machines, and long and dense themes, released their first LP. And in the same year Procol Harum fit a Bach cantata and make it a hit single, A Whiter Shade Of Pale . Another of the great successes of the era and one of the push I needed to consolidate style. Still, the general tastes were different roads in the 70 and the work of groups like Procol Harum and The Moody Blues were relegated to sporadic success did not influence in the fate of progressive rock.
Actually this first stage, which we define as Pop Symphony, was a litmus test where style met with its first limitations, as the fact of needing to rely on a large orchestra to develop fully. Hard to think that the first groups to propose gender is consciously take pop music in new directions, especially considering that the groups living from touring and was economically feasible to move from city to city with a full symphony orchestra in tow. Possibly the masterpiece of this first stage is Concerto for Group and Orchestra Deep Purple of , where the group was accompanied by the Royal Philharmonic Orchestra directed by Malcolm Arnold to play a concert composed by keyboardist of the band , Jon Lord , almost entirely instrumental and consists of 3 movements. The event was billed as an encounter between two worlds, the Rock and classicism. And the important thing was not having a big orchestra behind, but works design and develop a new spirit which sought to fuse two previously antagonistic cultures. It was not just using orchestral resources to enrich and make more varied sound, as usual thing at the time, but try adding pop elements dignify the traditionally accepted by the "educated elite." (CONTINUED)
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