1967 and the Prog-Rock Progenitors
If 1967 characterizes a high point where rock music could be appraised as Art, it also initiated an explicit realignment of what was henceforth possible.
Progressive rock reached its full potential in the ‘70s, but its roots trace back to the previous decade. While an attempt to determine when and with whom prog-rock formally originated is impossible (not to mention pointless), it is instructive to consider which artists pointed the way.
The official or at least easiest story is that when they released Sgt. Pepper’s Lonely Hearts Club Band, The Beatles ushered in a new era wherein rock music could be appreciated—and appraised—as Art. Of course there is considerable truth to this account, but there were plenty of other bands, circa 1967, edging things in a direction that was at once more evolved, complicated and unclassifiable.
For starters, The Beatles themselves had already made significant strides: Rubber Soul and especially Revolver showcased a facility for experimentation (sitar, string quartets, enriched lyrical import) and restlessness with regard to convention. “Tomorrow Never Knows” could be considered the true opening salvo that foresaw the future; after this song nothing was off the table, and opportunistic acts followed suit.
If 1967 characterizes a high point (famously, if a bit unfairly exemplified solely by Sgt. Pepper), it also initiated an explicit realignment of what was possible in rock music—for better or worse. Two albums that, in their way, illustrate where the art form would go are The Who’s The Who Sell Out and Love’s Forever Changes. In fact, if you combine the various concepts and approaches of both, a rough formula can be gleaned, previewing much of what was to come.
Indeed, both Love and The Who (led by Arthur Lee and Pete Townshend, respectively) had already made advancements on previous albums. The Who’s cheeky mini-opera, “A Quick One, While He’s Away” provided a template that Townshend—and many subsequent imitators—would utilize to greater effect. Love is notable for creating, alongside Dylan, Zappa and The Rolling Stones, one of the first songs to fill an entire album side. Love is not extolled nearly enough for the subtle ways they augmented the possibilities of a standard pop song: incorporating strings, flutes and harpsichords are all elements that make Side One of Da Capo a ceaselessly colorful and engaging listening experience.
Neil Young, not long for Buffalo Springfield, employed strings (with Jack Nitzsche’s supervision) for his elaborate miniature epics “Broken Arrow” and “Expecting to Fly”. The Moody Blues took a definitive leap forward, collaborating with Decca’s house orchestra to embellish their conceptual song-cycle Days of Future Passed. The Moody Blues were also one of the first bands to make prominent use of the mellotron (courtesy of Mike Pinder who, incidentally, is credited with turning John Lennon, pre “Strawberry Fields Forever”, onto the instrument), which would become a fixture in the prog-rock sound.
Traffic’s “Dear Mr. Fantasy” and Jefferson Airplane’s “White Rabbit” remain ubiquitous psychedelic anthems from 1967, but it was arguably two lesser known and celebrated (at the time) acts that provided crucial direction for more ambitious artists. The Velvet Underground and Captain Beefheart dropped albums that inspired and influenced the way modern music could connect. By turns surreal and cynical, Lou Reed and Don Van Vliet turned a mordant eye upon society and extended the lyrical possibilities Bob Dylan pioneered. Tracks like “Venus in Furs”, “Heroin”, “Drop Out Boogie” and “Electricity” (theremin!) are uncanny blueprints of a kitchen sink sensibility that quickly became commonplace.
Special mention must be made of the inimitable Brian Wilson. Even though his magnum opus SMiLE never saw the light of day (much more on that, here, "The Once and Future King: 'SMiLE' and Brian Wilson’s Very American Dream") he can be—and has been, by none other than Paul McCartney—credited with inspiring if not intimidating the Fab Four to raise their game. Although the world would not hear the ideas and innovations Wilson began to assemble in 1966(!), enough material was salvaged to ultimately surface on 1967’s Smiley Smile, and “Heroes and Villains” could be considered the yin to “A Day in the Life’s” yang.
Two other debuts, both released prior to Sgt. Pepper, contain multiple elements that would be mined throughout the ensuing decade. We will never know what direction(s) Jimi Hendrix may have headed in, but the sources of a very different rock sound are sprinkled liberally throughout Are You Experienced?. His virtuosity alone served notice and opened the floodgates of imitation and indulgence; arguably no one has yet caught up to what Hendrix was achieving between 1967 and 1970. Whatever his merits as a lyricist (never mind poet), there is no question that Jim Morrison introduced a modus operandi that was at once more literate and dark than most of the rock albums that preceded The Doors.
Morrison’s two extended album closers, “The End” and “When The Music’s Over” (from Strange Days, also released in 1967) brought a dramatic, cathartic aspect to songwriting that translated to more theatric live performances: every arena act learned a trick or two from the Lizard King. However effectively (or farcically, depending upon your preference) the organ and guitar solos on “Light My Fire” approximate jazz improvisation, Robbie Krieger and Ray Manzarek did the near-impossible (or unthinkable, depending upon your preference) on the song that helped define the Summer of Love: they turned attention from the singer’s looks (and vocals) to the band mates’ sounds, if even for a few minutes.
Finally, enough can never be said (and much more will be said, before long) about Pink Floyd. Another 1967 debut, The Piper at the Gates of Dawn, recorded at the same time in the same studio as Sgt. Pepper, is a fully realized burst of sui generis psychedelic perfection. Lyrically, it ranges from the obligatory astral imagery of the era (“Astronomy Domine”) to the obligatory shout-out to I Ching (“Chapter 24”) to the brain salad surgery of “Bike”, revealing the unique and astonishing mind of a 21-year-old Syd Barrett.
Captivating as Barrett’s words (and voice) is throughout; the real revelation is his songwriting. The tunes, with one notable exception (“Interstellar Overdrive”), are exercises in precision, packing maximal sound and feeling into bite-sized bits. Eccentric, erudite and ebullient, The Piper at the Gates of Dawn is a happy explosion of creative potential, a template Floyd would expand upon in a stretch of possibly unrivaled masterpieces throughout the ‘70s.
By 1968 it was apparent many artists were paying attention, and a trio of songs signifies some of the ways the prog-rock aesthetic was already in full effect. Perhaps most notoriously, Iron Butterfly went all in, crafting a side-long song that strained for profundity, intensity and inscrutability. “In-A-Gadda-Da-Vida” (In The Garden of Eden?) super-sized the instrumental passages from “Light My Fire” (including a drum solo!), and incorporated earnest if overbearing explorations that drew from Country Joe and the Fish’s acid-drenched “Section 43”: over the course of 18 minutes it is psychedelia unbound or pretentious noodling personified (perhaps both).
Eric Burdon, who had found fame mining blues motifs with The Animals, threw his hat into the ring and crafted one of the more successful anti-war ballads, “Sky Pilot”. The band is focused and at just over seven minutes the song still seems just right: neither noodling (musically) or preaching (lyrically), the inclusion of sound effects and bagpipes are novel strategies, albeit ones that would become familiar—and somewhat stale in the next decade.
Lastly, another overlooked artist who deserves more, Arthur Brown, reached incisively into the recent past and did much to predict the future. The Crazy World of Arthur Brown is an early concept album, incorporating mythology, religion and astute sociological insight. Best known for the one-and-done hit single “Fire”, the rest of Brown’s debut holds up well even as it’s unmistakably of its time.
His flair for the dramatic (bounding onto the stage with his metal helmet aflame) and painted face anticipated acts as diverse as Kiss, Alice Cooper and Peter Gabriel. The remarkable “Spontaneous Apple Creation”, which sounds like a mash-up of Sun Ra and Ennio Morricone, with vocals (and lyrics) that undeniably influenced Jethro Tull’s Ian Anderson, remains a signpost of how far rock music had come in only a couple of years.