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Listening to the Future: The Time of Progressive Rock, 1968-1978, by Bill Martin
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In Listening to the Future, Bill Martin sets the scene for the emergence of progressive rock and examines the most important groups, from the famous to the obscure. He also surveys the pathbreaking albums and provides resources for readers to explore the music further.
"Written with the insights of an academic, the authority of a musicologist, and—best of all—the passion of a true fan. Martin charts topographic oceans, courts crimson kings, does some brain salad surgery, and generally rocks out in 7/8 time."
—Jim DeRogatis
Sun-Times music critic
- Sales Rank: #815885 in eBooks
- Published on: 2015-12-14
- Released on: 2015-12-14
- Format: Kindle eBook
From Library Journal
Martin (Music of Yes, LJ 11/15/96) argues convincingly that the progressive rock movement of the early 1970s, whose pillars are the bands King Crimson and Yes, deserves consideration as important avant-garde art. While the first three chapters offer an academic, philosophical, and sociological analysis of the genre, casual fans will appreciate Chapter 4: a lengthy annotated discography of important progressive rock albums. Unfortunately, Martin's biases sometimes undercut his thoughtful arguments. He dismisses with contempt valid criticism of "prog rock" from the mainstream rock press, for example, and he fails to recognize the influence progressive rock had on the onstage excesses of 1980s "arena rock" he considers "awful." Still, Martin's book nicely complements two other recent works on the genre, musicologist Edward Macan's Rocking the Classics (LJ 10/15/96) and Paul Stump's The Music's All That Matters: A History of Progressive Rock (Quartet, 1997). Recommended for most popular music collections.?Lloyd Jansen, Stockton-San Joaquin Cty. P.L., Cal.
Copyright 1997 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Hard slogging but very thought provoking read
By John T. Moshier
First, reader beware: this is a very difficult academically oriented book by a DePaul University Philosophy Professor published by what appears to be an academic press. It is not geared to general readers who want a high level overview of what many aficionados called the "Art Rock" era. It assumes you know all that and much more. It uses words I haven't used or thought about since graduate school, sometimes several times in the same sentence.
It is hard going but well worth the journey. If you love this music (and I do) you will learn much about the music, groups and individual musicians. You will also learn a lot about Marxism, sociology, the social movements and philosophical ideas that underly what is now called "progressive rock." The book is so thought provoking that I intend to read it again after reading books by the same author on "Ethical Marxism" and the progressive rock group Yes.
The only reason I did not give this book five stars is that it is burdened by a professorial pomposity that is really hard to get past. At times the tongue in cheek criticisms of other scholars are hilarious. At other times the author simply calls his academic colleagues or their ideas "Stupid." This makes one wonder if people in academia with different viewpoints have manners. The seeming effort to land the cleverest "gotcha" does detract from a book that all lovers of bands like Yes, King Crimson, ELP, Jethro Tull, Renaissance and the like will be enriched by reading.
4 of 9 people found the following review helpful.
Would have been a great magazine article
By billrosenblatt
Martin is obviously a passionate, committed, and highly knowledgeable fan of progressive rock. He is fully entitled to his opinions. Unfortunately, Martin ties himself up in philosophical knots -- and envelops himself in the political correctness of tenured academia -- to justify the inconsistent categorization/taxonomy of progressive rock that ultimately derives from his tastes. This is too bad, because a more consistent and fair-minded treatise would have been more valuable. It also would have most likely not been book-length, because the tedious "Toward a Theory" chapter could have been condensed into 10 pages or less. Martin would also have known to avoid this tedium if he had read Ben Watson's "Negative Dialectics of Poodle Play"... but then Martin has no use for Frank Zappa, so of course he didn't read it.
Martin may be a philosopher, but he is evidentially not up on his Aristotlean logic. If he were, he would understand the following:
!JT
JT -> PF
HC -> FZ
0 of 1 people found the following review helpful.
the book argues that punk rock appeared as a new wave music.
By A Customer
THE BOOK's IDEA OF PUNK ROCK Bill martin's argument is that punk rock appeared as a new wave of music. He completely shatters the myth of it being a type of music against progressive rock by stating that it was a great part of the rock era. The line, "By the mideighties, punk was either a 'hard-core' taste for a few people with leather jackets,and mohawks or it had merged into a larger new wave scene" is an example of biased word choise. This is not historically accurate. This resource, however, is scholarly because of the many noted historians in its bibliography. It also goes into a hardcore generation and bands that have shaped punk music. It does not recognize punk rock as an entirely new music, but views it as one large part of progressive rock history. The historical question being persued is what has punk rock provided for progressive rock? This is answered and then the book moves on to other music genres.
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