While I liked the author's series of articles in "Slate" better than this book, if only for their immediacy, this is not a bad introduction to a unique moment in music history that's at its best in examining the early roots of the movement. The problem, as someone who is old enough to have experienced this history in real time, is that there is so much that you could cover that sticking to the soap-opera lives of the main players is probably the best you're going to do and it's still going to seem to be inadequate. Still, this was an honest effort, even if it could be stronger in terms of showing how the contemporary prog rock scene evolved out of the old. ( )

This book is simultaneously filled with too much detail and not enough. Long descriptions of the time signatures of individual songs, while whole albums are mentioned in a single sentence. As others have noted, many bands given short mentions. The book is really about the overlapping history of 4 bands: Yes, Genesis, King Crimson and Emerson, Lake and Palmer. Granted these were the most popular of the prog bands but long lived groups like Procol Harum and Moody Blues deserved more mention.

There was virtually no mention of how prog fitted (or didn't fit) with other music of the time (the 1970s). For example disco, so-called corporate rock, Electric Light Orchestra or Fleetwood Mac were never mentioned.

I was also poorly organized. It sort of was in chronological order but jumped around too much. He'd often start a paragraph about one group and then end the paragraph, with no real transition, with another. I read through to about half way and just skimmed the rest.

All right, I owned or own six Emerson Lake and Palmer LPs, six Yes LPs, King Crimson's In the Court of the Crimson King, three (yes, three!!) Rick Wakeman solo albums and a handful of other progressive rock albums. There's probably a half dozen or more such albums on my iPod right now. Caught up in the midst of the prog rock movement, I also admit I'm one of those who bailed when, by the end of the 1970s, it was derided and ridiculed.

Where prog rock came from, its decline and what it left behind are the subject of David Weigel's The Show That Never Ends: The Rise and Fall of Prog Rock. As Weigel notes, The Rock Snob's Dictionary describes prog rock as "the single most deplored genre of postwar pop." And it was only 1984 when This is Spinal Tap, a peerless send-up of "prog rock" and some of the metal bands it influenced, was released. Te book, the title of which comes from a 1973 Emerson Lake and Palmer album, is a thoroughly researched and entertaining look at the genre. Yet the nature and history of prog rock is such as to create difficulty for any writer and, as a result, The Show That Never Ends stumbles with a couple unavoidable hurdles.

One confounding factor is the seemingly continuous changes in band personnel. Take drummer Bill Bruford, for example. In addition to forming two bands of his own, he was with Yes for its first five albums (1968-72) and part of a reconstituted Yes in 1991-92, part of two different incarnations of King Crimson (1972-74, 1981-84), the drummer for Genesis on its 1976 tour, and part of a band with three other original members of Yes in 1989. Or consider King Crimson. While its 1969 In the Court of the Crimson King is generally viewed as one of prog rock's best albums, it came and went for decades with 21 different musicians in its various formations.

Despite that, Weigel, a national political correspondence for The Washington Post, seems at his best in delving into the origins and early development of prog rock, following a handful of its preeminent artists and showing the music it spawned. It also reflects the heavily British source of the musicians.

The biggest challenge in examining prog rock is the music itself. The musicians not only aimed at creating complex music with unusual time signatures they sought new sounds, largely through the use of synthesizers and polyphonic keyboards. Yes even bought Slinkys, put microphones on them and threw them down stairs. "If you put a lot of reverb on it, it sounds great," said Yes guitarist Steve Howe. Moreover, Weigel notes, many lyrics "had as much or as little meaning as the listener wanted from them."

Even with a straightforward and traditional approach to any genre, there's the adage that writing about music is like dancing about architecture. Add in the unusual and unconventional sounds in prog rock and the level of difficulty is even greater. As a result, The Show That Never Ends has passages like this one, describing the last track on the Yes album Fragile:

It started with a rumble, a 6/8 bass line from [Chris] Squire and a drumroll from Bruford. Then came [Rick] Wakeman, with a horror-film keyboard melody in 3/4. Back to the ascending riff, joined by Howe’s guitar. The melody suddenly changed, to a 4/4 beat, with the original riff being phased in slowly by the mix. Then a dropout, to a melody that Anderson had written on his acoustic guitar. The themes repeated, announced at various intervals on keyboards, by what the band came to call "Rick-recapitulation."

Weigel's efforts to translate this music into words are admirable but there's a few too many times when they muddle rather than enlighten. Readers could greatly enhance their enjoyment of the book using streaming music services as a supplement.

Naturally, the most well-known bands, such as Yes, King Crimson and ELP, get plenty of attention. The book also examines the role of many lesser known artists in prog rock's development and its legacy. Oddly, despite its success, Pink Floyd is discussed far less, although that is perhaps because entire books have been written about the band and by its members.

The reasons for the precipitous decline of prog rock are harder to define than the factors that gave rise to it. Declining record sales and Changes in the music industry led to labels dumping progressive rock bands. Yet listeners also abandoned the genre in droves, perhaps in response to the music's complexity. Or perhaps it is just as simple as the fact the bands and the music tended toward bombast, pretension and self-indulgence. I know that was what pushed me away. Still, Weigel makes a good case for prog rock's role in shaping rock music and what would come.

(Originally posted at A Progressive on the Prairie.)